The author, a prominent French philosopher, writes of life under the German occupation

First published in France in 1977, this autobiography vivifies the captivating Carles from her peasant origins in a tiny Alpine village through her work as a teacher, farmer, mother, feminist and political activist.

Autobiographical Jews examines the nature of autobiographical writing by Jews from antiquity to the present, and the ways in which such writings can legitimately be used as sources for Jewish history. Drawing on current literary theory, which questions the very nature of autobiographical writing and its relationship to what we normally designate as the truth, and, to a lesser extent, the new cognitive neurosciences, Michael Stanislawski analyzes a number of crucial and complex autobiographical texts written by Jews through the ages. Stanislawski considers The Life by first-century historian Josephus; compares the early modern autobiographies of Asher of Reichshofen (Book of Memories) and Glikl of Hameln (Memoirs); analyzes the radically different autobiographies of two Russian Jewish writers, the Hebrew Enlightenment author Moshe Leib Lilienblum and the famous Russian poet Osip Mandelstam; and looks at two autobiographies written out of utter despair in the midst and in the wake of World War II, Stefan Zweig’s The World of Yesterday and Sarah Kofman’s Rue Ordener, Rue Labat. These writers’ attempts to portray their private and public struggles, anxieties, successes, and failures are expressions of a basic drive for selfhood which is both timeless and time-bound, universal and culturally specific. The challenge is to attempt to unravel the conscious from the unconscious distortions in these texts and to regard them as artifacts of individuals’ quests to make sense of their lives, first and foremost for themselves and then, if possible, for their readers.

In Smothered Words, the philosopher Sarah Kofman acknowledges her personal history, evoking for the first time in a published work her father's deportation and death in Auschwitz. Kofman juxtaposes readings of the work of Maurice Blanchot, reflections on The Human Race, Robert Antelme's account of his deportation to a German prison (also available from Northwestern University Press), and her recognition of having outlived her father and survived the Holocaust. Her consideration of these three figures and the texts associated with them serves as a meditation on the contrasting imperatives of history, autobiography, and critical writing. Kofman committed suicide in 1995. Smothered Words addresses both the effects on representation of the emotional suffering of the survivors and the ethical questions raised in representing the Holocaust. Kofman explores the relationships and tensions among autobiographical, historical, and philosophical approaches to writing the Holocaust.

A collection of life stories so funny, moving that “you don’t have to be a Jewish feminist mama to love this book . . . but it wouldn’t hurt” (Tablet Magazine). Here are the collected autobiographical writings of memoirist, poet, and professor Faye Moskowitz. Known for both her sense of humor—even in the bleakest of circumstances—and her insight into the relationships that define who we are, where we come from, and where we hope to be going, Moskowitz shares her own life stories in “a book that will make you stand up and cheer” (The Detroit News). From her childhood in Detroit during the Great Depression to the time when her mother abandoning the family to pursue her own dreams; from helping a dying friend simply get through another day to a hilarious account of binge eating at a wedding; from finding love and leaving home to building her own family and legacy, these recounted experiences give us “her piercingly tender observations about unlikely friendships, transgressive love, disappointing plants, and sacred Jewish rituals of the kitchen” (Lilith Magazine).

Family Values shows how the various contradictions at the heart of Western conceptions of maternity and paternity problematize our relationships with ourselves and with others. Using philosophical texts, psychoanalytic theory, studies in biology and popular culture, Kelly Oliver challenges our traditional concepts of maternity which are associated with nature, and our conceptions of paternity which are embedded in culture. Oliver's intervention calls into question the traditional image of the oppositional relationship between nature and culture, maternal and paternal. Family Values also undercuts recent returns to the rhetoric of a "battle between the sexes" by analyzing the conceptual basis of these descriptions in biological research and the presuppositions of such suggestions in philosophy and psychoanalysis. By developing a reconception of maternity and paternity, Family Values offers hope for peace in the battle of the sexes.

"You know, a lot of people like to talk about it, and I'm always pushing, pushing away, you know, I'm always pushing. I hate to remember, I hate to talk about it." But in the wake of her husband's death, and afraid that the story would never be told, Alina Bacall-Zwirn, a survivor of the Warsaw ghetto and four Nazi concentration camps, decided to remember and to bear witness to the history she and her husband suffered together. In a unique format that combines personal testimony, photographs, letters, legal documents and contributions from Alina's family; No Common Place interweaves a survivor's story with her reflections on the impact of her traumatic past on herself and her family. ø As it follows Alina through conversations with Jared Stark and with interviewers at the Fortunoff Video Archive for Holocaust Testimonies, and as it records her participation in the dedication ceremonies of the U.S. Holocaust Memorial Museum, the books speaks to the importance of the individual's voice in shaping collective memory of the Holocaust. The supporting materials?chronology, maps, and notes?allow the survivor's voice to serve as a guide to the study of the Holocaust and its aftermath.

An internationally renowned scholar examines an episode in the chaos & retributive strife that engulfed France during the liberation at the end of World War II.

Audacious and genre-defying, Black and Blue is steeped in melancholy, in the feeling of being blue, or, rather, black and blue, with all the literality of bruised flesh. Roland Barthes and Marcel Proust are inspirations for and subjects of Carol Mavor's exquisite, image-filled rumination on efforts to capture fleeting moments and to comprehend the incomprehensible. At the book's heart are one book and three films—Roland Barthes's Camera Lucida, Chris Marker's La Jetée and Sans soleil, and Marguerite Duras's and Alain Resnais's Hiroshima mon amour—postwar French works that register disturbing truths about loss and regret, and violence and history, through aesthetic refinement. Personal recollections punctuate Mavor's dazzling interpretations of these and many other works of art and criticism. Childhood memories become Proust's "small-scale contrivances," tiny sensations that open onto panoramas. Mavor's mother lost her memory to Alzheimer's, and Black and Blue is framed by the author's memories of her mother and effort to understand what it means to not be recognized by one to whom you were once so known.