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6 books match the query 'Lassner, Phyllis'

cover of A Tempered Wind: An Autobiography

A Tempered Wind

An Autobiography

Karen Gershon

Northwestern University Press, 2010

Poet Karen Gershon opens A Tempered Wind, the sequel to volume 1 of her autobiography A Lesser Child, in 1943. It begins tragically with the death of Karen’s sister Anne in England, where they had escaped from Nazi Germany with their third sister Lise via the Kindertransport mission. A Tempered Wind proceeds to chart the difficult period from 1939 to 1943 as Karen adapts to a new culture and undertakes the complicated passage from adolescence to adulthood in the British Isles.

Now orphans—their parents were murdered by the Nazis—the sisters are separated, and Karen is left haunted by feelings of abandonment by her sister as well as her parents who sent her away from them. Such feelings, along with her struggle with her imperiled Jewish identity, make their way into Karen’s writing, which includes stories, essays, and poems. In writing, she starts to find a home in language. Charting the creative growth of an astonishing Jewish author, A Tempered Wind concludes with Karen making her own urgent way as a writer with a mission to tell the world her archetypal German Jewish story.

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cover of Colonial Strangers: Women Writing the End of the British Empire

Colonial Strangers

Women Writing the End of the British Empire

Lassner, Phyllis

Rutgers University Press, 2004

Colonial Strangers revolutionizes modern British literary studies by showing how our interpretations of the postcolonial must confront World War II and the Holocaust. Phyllis Lassner’s analysis reveals how writers such as Muriel Spark, Olivia Manning, Rumer Godden, Phyllis Bottome, Elspeth Huxley, and Zadie Smith insist that World War II is critical to understanding how and why the British Empire had to end.

Drawing on memoirs, fiction, reportage, and film adaptations, Colonial Strangers explores the critical perspectives of writers who correct prevailing stereotypes of British women as agents of imperialism. They also question their own participation in British claims of moral righteousness and British politics of cultural exploitation. These authors take center stage in debates about connections between the racist ideologies of the Third Reich and the British Empire.

Colonial Strangers reveals how the literary responses of key artists represent not only compelling reading, but also a necessary intervention in colonial and postcolonial debates and the canons of modern British fiction.


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cover of Old Wine

Old Wine

Phyllis Bottome

Northwestern University Press, 1998

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cover of Out of Chaos: Hidden Children Remember the Holocaust

Out of Chaos

Hidden Children Remember the Holocaust

Elaine Saphier Fox

Northwestern University Press, 2013

The stories in Out of Chaos forms a profound testament to lost and found lives that are translated into compelling reading. The collection illuminates brief or elongated moments, fragments of memory and experience, what the great Holocaust writer Ida Fink called “a scrap of time.”  In all, the anthology expresses survivors’ memories and reactions to a wide range of experiences as they survived in so many European settings, from Holland, Belgium, Italy, Germany, Greece, Yugoslavia, Poland, and France.

The writers recall being on the run between different countries, escaping over mountains, hiding and even sometimes forgetting their Jewish identities in convents and rescuers’ homes and hovels, basements and attics. Some were left on their own; others found themselves embroiled in rescuer family conflicts.  Some writers chose to write story clusters, each one capturing a moment or incident and often disconnected by memory or temporal and spatial divides. 
 
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cover of Soundless Roar: Stories, Poems, and Drawings

Soundless Roar

Stories, Poems, and Drawings

Ava Kadishson Schieber

Northwestern University Press, 2002

Soundless Roar introduces a distinctive new voice to Holocaust literature. Ava Kadishson Schieber, author, poet, and artist, spent her teenage years hiding from the Nazis on a Serbian farm. Her cultured speech and city-bred body language could have betrayed her, so she was forced into near isolation. Schieber began drawing while in hiding, and she continues to express herself today with the same urgency. The drawings and writings in Soundless Roar are the culmination of many years of artistry. In her work, she shares her memories of loved ones killed in the Holocaust: they are "friendly ghosts" that will always be a part of her.

Schieber's drawings, paintings, poetry, and prose are all intimate reflections of one another. Her experience forged the unusual sense of time that shapes Schieber's stories. In her preface, Phyllis Lassner writes: "The timetable of Ava's stories often consists of circles within circles, of patterns of an intertwined past, the past present of hiding, and the present looking back at those distinctly separate but inseparable pasts."
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cover of The Mortal Storm

The Mortal Storm

Phyllis Bottome

Northwestern University Press, 1998

A highly acclaimed anti-fascist novel, The Mortal Storm was Phyllis Bottome's dramatic warning against the warmongering, antisemitism, and misogyny of the Nazis. The story pits the developing political and feminist consciousness of Freya Roth against the Nazi machine that will destroy the fabric of her family and nation. In its combination of adventure and love story, political analysis and history, The Mortal Storm remains a powerful reminder of the greatest crisis of the twentieth century, as well as a riveting personal saga.
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