By Irmgard Keun
Sanna and her ravishing good friend Gerti might quite communicate of affection than politics, yet in Nineteen Thirties Frankfurt, politics can't be escaped--even within the lady's toilet. Crossing city one night to fulfill up with Gerti's Jewish lover, a blockade cuts off the girls' path--it is the Fürher in a motorcade procession, and the group is going mad striving to capture a glimpse of Hitler's raised "empty hand." Then the parade is over, and within the lengthy hours after dead night Sanna and Gerti will face betrayal, demise, and the heartbreaking truth of being younger in an period without innocence or romance.
In 1937, German writer Irmgard Keun had only in the near past fled Nazi Germany along with her lover Joseph Roth whilst she wrote this slender, beautiful, and devastating publication. It captures the insufferable rigidity, contradictions, and hysteria of pre-war Germany like no different novel. but while it exposes human folly, the e-book exudes a hopeful humanism. it truly is filled with humor and light-weight, while it describes the 1st moments of a nightmare. After middle of the night is a masterpiece that merits to be learn and remembered anew.
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Extra info for After Midnight (Neversink)
84 Language itself cannot serve as proof, as evidence of a reality no longer present. James Young takes this as his point of departure for his study on narrative form in Holocaust literature. 85 That is, literary and historical truths may not be entirely separable, as “reality” cannot be understood separate from language itself. Young is aware of the fact that this is an uncomfortable conclusion to reach, not only for (some) Holocaust scholars, but also in particular for survivor authors themselves who fear that the empirical link between their experiences and their narrative might be lost in its literary construction.
As a result, the works they discuss tend to be literature that is published in English (or is translated to English) in the United States. If the cultural influence of these works is discussed at all, it is generally limited to their impact on American (Holocaust) consciousness. In turn, this prevalence in these studies of what Alan Mintz calls an “exceptionalist” approach to Holocaust literature may stem from their theoretical underpinnings: variations of a New Critical approach or a more recent poststructuralist literary criticism are visible that resist having literary analysis turn “into writing about history .
78 One need not necessarily agree fully with Caruth’s reading of Freud or with the more controversial aspects of her analysis (which may indeed lead to disturbing forms of appropriation if one fails to distinguish between the trauma experienced by the survivor and the trauma “witnessed” by the scholar),79 to still see that a more complex and different understanding of the nature of memory and memoir due to traumatic memory is important. Among others, it has led to a shift within Holocaust studies away from a primarily historical paradigm, to a broader cultural studies model.