Investigates the dynamic relationship between experiences of profound social and cultural disruption, and human memory. Critical comparisons are made across a wide variety of catastrophic experiences and memories; not just of war, but also of massacre, genocide, rebellion, famine, partition, shipwreck and fire. The book is an accessible showcase for a wide range of methodological approaches to the study of memory, including literary studies, cultural studies, participant-observation and historical studies, and uses a variety of oral, visual and written sources. Offers a diverse chronological and geographical range of catastrophic cases, from seventeenth-century England to the recent conflicts in the former Yugoslavia, from Ireland to the Indian sub-continent, from Mexico to wartime Leningrad. Well-written and accessible – a fascinating read.
"Terror, disaster, memory, selfhood, happiness . . . leave it to a poet to tackle the unthinkable so wisely and so wittily."* A literary guide to life in the pre-apocalypse, The Unreality of Memory collects profound and prophetic essays on the Internet age’s media-saturated disaster coverage and our addiction to viewing and discussing the world’s ills. We stare at our phones. We keep multiple tabs open. Our chats and conversations are full of the phrase “Did you see?” The feeling that we’re living in the worst of times seems to be intensifying, alongside a desire to know precisely how bad things have gotten—and each new catastrophe distracts us from the last. The Unreality of Memory collects provocative, searching essays on disaster culture, climate anxiety, and our mounting collective sense of doom. In this new collection, acclaimed poet and essayist Elisa Gabbert explores our obsessions with disasters past and future, from the sinking of the Titanic to Chernobyl, from witch hunts to the plague. These deeply researched, prophetic meditations question how the world will end—if indeed it will—and why we can’t stop fantasizing about it. Can we avoid repeating history? Can we understand our moment from inside the moment? With The Unreality of Memory, Gabbert offers a hauntingly perceptive analysis of our new ways of being and a means of reconciling ourselves to this unreal new world. "A work of sheer brilliance, beauty and bravery.” *—Andrew Sean Greer, author of Less
History is marked by catastrophic events that defy meaning and understanding. The 20th century was a century of prosperity and progress; it was also history's bloodiest. The death toll from war and genocide reached 140 million people. Trauma of this magnitude poses grave challenges to memory and thought. This work explores failures of memory and cognition - the blackout - as a condition that plagues history, and is particularly problematic in an era of media, in which memory is increasingly disembodied and virtualized, undermined by a Generalized Media Disorder. Technologies of media and war are creating a condition in which the virtual world is displacing the ethical world. BLACKOUT traces this phenomenon through a century of upheaval - from World War I, which exceeded all previous notions of destruction, to the War on Terror, a perpetual war in a realm of perpetual media. World War II is particularly significant in its deployment of previously unfathomable technologies of disappearance - extermination, nuclear weapons, and the massive incineration of cities in Germany and Japan. The blackout is a space of memory and thinking that collapses with catastrophe and falls into a stupor. Our humanity has been nearly extinguished by the tremendous violence it has enacted, pushing philosophy, language and ethics to their limits. Joan Grossman is an award-winning documentary filmmaker and video artist, based in Brooklyn, New York. Her work has been shown in more than 20 countries. She also teaches media theory and production, and received her doctorate in Media Philosophy from the European Graduate School in Switzerland.
2014 Dayton Literary Peace Prize — Nonfiction Runner Up The complex histories and memories of Jewish and Palestinian Israelis today frame Israel’s future possibilities for peace. 1948: As Jewish refugees, survivors of the Holocaust, struggle toward the new State of Israel, Arab refugees are fleeing, many under duress. Sixty years later, the memory of trauma has shaped both peoples’ collective understanding of who they are. After a war, the victors write history. How was the story of the exiled Palestinians erased – from textbooks, maps, even the land? How do Jewish and Palestinian Israelis now engage with the histories of the Palestinian Nakba ("Catastrophe") and the Holocaust, and how do these echo through the political and physical landscapes of their country? Vividly narrated, with extensive original interview material, Contested Land, Contested Memory examines how these tangled histories of suffering inform Jewish and Palestinian-Israeli lives today, and frame Israel’s possibilities for peace.
During and after World War I, over one million Ottoman Greeks were expelled from Turkey, a watershed moment in Greek history that resulted in hundreds of thousands of deaths. And while few dispute the expulsion’s tragic scope, it remains the subject of fierce controversy, as activists have fought for international recognition of an atrocity they consider comparable to the Armenian genocide. This book provides a much-needed analysis of the Greek genocide as cultural trauma. Neither taking the genocide narrative for granted nor dismissing it outright, Erik Sjöberg instead recounts how it emerged as a meaningful but contested collective memory with both nationalist and cosmopolitan dimensions.
The Future as Catastrophe offers a novel critique of the fascination with disaster. Analyzing the catastrophic imaginary from its historical roots to the contemporary popularity of disaster fiction and end-of-the-world blockbusters, Eva Horn argues that apocalypse always haunts the modern idea of a future that can be anticipated and planned.
Library of Small Catastrophes, Alison Rollins’ ambitious debut collection, interrogates the body and nation as storehouses of countless tragedies. Drawing from Jorge Luis Borges’ fascination with the library, Rollins uses the concept of the archive to offer a lyric history of the ways in which we process loss. “Memory is about the future, not the past,” she writes, and rather than shying away from the anger, anxiety, and mourning of her narrators, Rollins’ poetry seeks to challenge the status quo, engaging in a diverse, boundary-defying dialogue with an ever-present reminder of the ways race, sexuality, spirituality, violence, and American culture collide.
Comprehensive analysis of 220 hours of outtakes that impels us to reexamine our assumptions about a crucial Holocaust documentary. Claude Lanzmann’s 1985 magnum opus, Shoah, is a canonical documentary on the Holocaust—and in film history. Over the course of twelve years, Lanzmann gathered 230 hours of location filming and interviews with survivors, witnesses, and perpetrators, which he condensed into a 9½-hour film. The unused footage was scattered and inaccessible for years before it was restored and digitized by the United States Holocaust Memorial Museum. In An Archive of the Catastrophe, Jennifer Cazenave presents the first comprehensive study of this collection. She argues that the outtakes pose a major challenge to the representational and theoretical paradigms produced by the documentary, while offering new meanings of Shoah and of Holocaust testimony writ large. They lend fresh insight into issues raised by the film, including questions of resistance, rescue, refugees, and, above all, gender—Lanzmann’s twenty hours of interviews with women make up a mere ten minutes of the finished documentary. As a rare instance of outtakes preserved during the predigital era of cinema, this unused footage challenges us to establish a new critical framework for understanding how documentaries are constructed and reshapes the way we view this key Holocaust film. “Cazenave’s immense work of scholarship and reflection offers an intimate and exacting account of the way Lanzmann’s approach to the project shifted and changed over the years of its creation. Never before has there been a more insightful study of the evolution of his thinking. I believe that any scholar who has worked on this film will agree.” — Stuart Liebman, editor of Claude Lanzmann’s Shoah: Key Essays “This monumental book will profoundly change our understanding of Shoah and Lanzmann’s highly influential shaping of the Holocaust narrative. Cazenave reveals that the significance of Shoah is not only found in what is in it, but, perhaps more importantly, what was omitted from it.” — Aaron Kerner, author of Film and the Holocaust: New Perspectives on Dramas, Documentaries, and Experimental Films
Historians of the stabilization phase of Weimar Germany tend to identify German recovery after the First World War with the struggle to revise reparations and control hyperinflation. Focusing primarily on economic aspects is not sufficient, however, the author argues; the financial burden of recovery was only one of several major causes of reaction against the republic. Drawing on material from major German cities, he is able to trace the emergence of strong local activism and of comprehensive and functional policies of recovery on the municipal level which enjoyed broad political backing. Ironically, these same programs that created consensus also contained the potential for destabilization: they unleashed intense debate over the needs of the consumersand the purpose and extent of public spending, and with that of government intervention more generally, which accelerated the fragmentation of bourgeois politics, leading to the final destruction of the Weimar Republic.
The writing of recent history tends to be deeply marked by conflict, by personal and collective struggles rooted in horrific traumas and bitter controversies. Frequently, today’s historians can find themselves researching the same events that they themselves lived through. This book reflects on the concept and practices of what is called “contemporary history,” a history of the present time, and identifies special tensions in the field between knowledge and experience, distance and proximity, and objectivity and subjectivity. Henry Rousso addresses the rise of contemporary history and the relations of present-day societies to their past, especially their legacies of political violence. Focusing on France, Germany, the United Kingdom, and the United States, he shows that for contemporary historians, the recent past has become a problem to be solved. No longer unfolding as a series of traditions to be respected or a set of knowledge to be transmitted and built upon, history today is treated as a constant act of mourning or memory, an attempt to atone. Historians must also negotiate with strife within this field, as older scholars who may have lived through events clash with younger historians who also claim to understand the experiences. Ultimately, The Latest Catastrophe shows how historians, at times against their will, have themselves become actors in a history still being made.
