By Gina Herrmann Ofelia Ferran
Providing the 1st English-language number of essays on Jorge Semprun, this quantity explores the existence and paintings of the Spanish Holocaust survivor, writer, and political activist. Essays discover his cultural creation in all its manifestations, together with the function of testimony and fiction in representations of the Holocaust.
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Extra resources for A Critical Companion to Jorge Semprún: Buchenwald, Before and After
During the German Occupation in France, the Vichy government sets up a special tribunal to try six petty criminals for the murder of a German officer, actually killed by resisters. 1976. Une femme à sa fenêtre. Screenplay with Pierre Granier-Deferre. Dir. Pierre Granier-Deferre. An Austrian-born aristocratic woman in 1936 Athens falls in love with a communist revolutionary, against the backdrop of martial law in Greece and eventually World War II. 1978. Les routes du sud. Dir. Joseph Losey. With Franco on his deathbed in 1975, a communist militant deals with the loss of his wife and his son’s criticism of his many years of clandestine work with the PCE.
Or a sign of laziness. ”) (EV 23; LL 13–14)14 This oft-cited passage presents key aesthetic and ethical stances that distinguish Semprún from among other writers addressing the survival of Nazi atrocity. He takes bold positions on several fronts. 15 He has also claimed that the process of putting the experience into words is interminable, for each time he returns to his memories of the camp new recollections arise and new aspects of old memories emerge. Furthermore, Semprún looks at the Holocaust within the frame of “all great historical experiences,” claiming that the difficulties in retelling this experience are akin to the ability to communicate the experience of catastrophes in other times or places.
However, much remains to be done with regard to fully understanding Semprún’s use of intertextuality. Still more research is needed comparing Semprún to other multilingual as well as exiled authors. It would also be interesting to further explore Semprún’s role within Holocaust commemorations and education, analyzing his journalistic articles, speeches, and appearances in documentaries and televised interviews as performances, along the lines of chapters eleven and twelve in this volume by Winter and Céspedes, respectively.