Adler H. G. Скачать все книги 3 Количество книг

A major literary event: the first-ever English translation of a lost masterpiece of Holocaust literature by acclaimed author and survivor H. G. Adler.

The story behind the story of is remarkable in itself: Award-winning translator Peter Filkins discovered an obscure German novel in a Harvard Square bookstore and, reading it, realized that it was a treasure unavailable to English speakers. It was the most powerful book by the late H. G. Adler, a survivor of Theresienstadt and Auschwitz, a writer whose work had been praised by authors from Elias Canetti to Heinrich Böll and yet remained unknown to international audiences.

Written in 1950 after Adler’s emigration to England, was not released in Germany until 1962. After the war, larger publishing houses stayed away from novels about the Holocaust, feeling that the tragedy could not be fictionalized and that any metaphorical interpretation was obscene. Only a small publisher was in those days willing to take on .

Yet Filkins found that Adler had depicted the event in a unique, truly modern, and deeply moving way. Avoiding specific mention of country or camps — even of Nazis and Jews— is a lyrical nightmare of a family’s ordeal and one member’s survival. Led by the doctor patriarch Leopold, the Lustig family finds itself “forbidden” to live, uprooted into a surreal and incomprehensible circumstance of deprivation and death. This cataclysm destroys father, daughter, sister, and wife and leaves only Paul, the son, to live again among those who saved or sacrificed him. reveals a world beset by an “epidemic of mental illness. . As a result of the epidemic, everyone was crazy, and once they finally recognized what was happening it was too late.”

Linked by its innovative style to the work of James Joyce and Virginia Woolf, is as much a revelation as other recent discoveries on the subject as the works of W. G. Sebald and Irène Némirovsky’s . It is a book proving that art can portray the unimaginable and expand people’s perceptions of it, a work anyone interested in recent history and modern literature must read.

Published for the first time in English, Panorama is a superb rediscovered novel of the Holocaust by a neglected modern master. One of a handful of death camp survivors to fictionalize his experiences in German, H. G. Adler is an essential author — referenced by W. G. Sebald in his classic novel , and a direct literary descendant of Kafka.

When was discovered in a Harvard bookshop and translated by Peter Filkins, it began a major reassessment of the Prague-born H. G. Adler by literary critics and historians alike. Known for his monumental , a day-by-day account of his experiences in the Nazi slave-labor community before he was sent to Auschwitz, Adler also wrote six novels. The very depiction of the Holocaust in fiction caused furious debate and delays in their publication. Now , his first novel, written in 1948, is finally available to convey the kinds of truths that only fiction can.

A brilliant epic, is a portrait of a place and people soon to be destroyed, as seen through the eyes of young Josef Kramer. Told in ten distinct scenes, it begins in pastoral Word War I — era Bohemia, where the boy passively witnesses the “wonders of the world” in a thrilling panorama display; follows him to a German boarding school full of creeping xenophobia and prejudice; and finds him in young adulthood sent to a labor camp and then to one of the infamous extermination camps, before he chooses exile abroad after the war. Josef’s philosophical journey mirrors the author’s own: from a stoic acceptance of events to a realization that “the viewer is also the participant” and that action must be taken in life, if only to make sure the dead are not forgotten.

Achieving a stream-of-consciousness power reminiscent of James Joyce and Gertrude Stein, H. G. Adler is a modern artist with unique historical importance. is lasting evidence of both the torment of his life and the triumph of his gifts.

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY

Compared by critics to Kafka, Joyce, and Musil, H. G. Adler is becoming recognized as one of the towering figures of twentieth-century fiction. Nobel Prize winner Elias Canetti wrote that “Adler has restored hope to modern literature,” and the first two novels rediscovered after his death, and were acclaimed as “modernist masterpieces” by . Now his magnum opus, the final installment of Adler’s Shoah trilogy and his crowning achievement as a novelist, is available for the first time in English.

Drawing upon Adler’s own experiences in the Holocaust and his postwar life, , like the other works in the trilogy, nonetheless avoids detailed historical specifics. The novel tells the story of Arthur Landau, survivor of a wartime atrocity, a man struggling with his nightmares and his memories of the past as he strives to forge a new life for himself. Haunted by the death of his wife, Franziska, he returns to the city of his youth and receives confirmation of his parents’ fates, then crosses the border and leaves his homeland for good.

Embarking on a life of exile, he continues searching for his place within the world. He attempts to publish his study of the victims of the war, yet he is treated with curiosity, competitiveness, and contempt by fellow intellectuals who escaped the conflict unscathed. Afflicted with survivor’s guilt, Arthur tries to leave behind the horrors of the past and find a foothold in the present. Ultimately, it is the love of his second wife, Johanna, and his two children that allows him to reaffirm his humanity while remembering all he’s left behind.

The Wall