By Stefania Lucamante (auth.)
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Additional resources for Forging Shoah Memories: Italian Women Writers, Jewish Identity, and the Holocaust
Example text
Cavaglion criticizes the scarcity of “works in Italian connected to the symbolic representation of the extermination (literary, first of all, but also figurative, artistic and cinematographic)” (“Nota” xix). 7 The glaring absence of a more specific field of study on Italian Shoah literature should come as no surprise because “[i]t constitutes the continuation of a thread that ties this absence to the one of a specific literary research on the hebräitude, also due to visible conditionings” (Cavaglion, “Prefazione” 7).
In her investigation of the Zeitroman, Ruth Glynn looks at a temporal difference not to be intended strictly as such but more as a psychological distance (14–16). Perhaps this is a proper way to understand the Italian Shoah novel by women: a historical novel without defined temporal definitions that points at the contemporaneity between the female author and the things happened in the novel. A kind of historical novel, that is, that takes more into consideration the affinities rather than the discrepancies of the two times intercepted by the writing (15).
The scarcity of memoirs published contemporary with internment in the camps and subsequent liberation—whose authors often felt inadequate to express what really happened, what they really felt—is, however, understandable. Survivors’ attempts to work stylistically on their narratives produced two rather distinct effects. In many cases, the most immediate desire was to write. Such necessity sprang for many almost as much from the hope to lessen their shame of survival as from the affliction for what they had seen and left behind: the victims who shared the same event but endured extreme consequences.
