Expands the definition of second-generation literature to include texts written from the point of view of the children of Nazi perpetrators.

How do you talk about and make sense of your life when you grew up with parents who survived the most unimaginable horrors of family separation, systematic murder and unending encounters of inhumanity? Sixteen authors reveal the challenges and gifts of living with the aftermath of their parents’ inconceivable experiences during the Holocaust. The Ones Who Remember: Second-Generation Voices of the Holocaust provides a window into the lived experience of sixteen different families grappling with the legacy of genocide. Each author reveals the many ways their parents’ Holocaust traumas and survival seeped into their souls and then affected their subsequent family lives – whether they knew the bulk of their parents’ stories or nothing at all. Several of the contributors’ children share interpretations of the continuing effects of this legacy with their own poems and creative prose. Despite the diversity of each family's history and journey of discovery, the intimacy of the collective narratives reveals a common arc from suffering to resilience, across the three generations. This book offers a vision of a shared humanity against the background of inherited trauma that is relatable to anyone who grew up in the shadow of their parents’ pain.

Heirs to the legacy of Auschwjtz, the children and grandchildren of Holocaust survivors and perpetrators have always been thought of as separated by fear and anger, mistrust and shame. This groundbreaking study provides a forum for expression in which each group reflects candidly upon the consuming burdens and challenges it has inherited. In these intensely personal and frequently dramatic pieces, understandable differences surface. The Jewish second generation is unified by a search for memory and family. Their German counterparts experience the opposite. Yet surprising common ground is revealed. Each group emerges out of households where, for vastly different reasons, the Holocaust was not mentioned. Each struggles to break this barrier of silence. Each has witnessed the continued survival of parents and must grapple with living in households haunted by denial. And each knows it is his or her charge to shape the Holocaust for future generations. To be sure, there is disagreement among the groups about the need for-or wisdom of-dialogue. Yet Second Generation Voices boldly engenders authentic grounds for discussion. Issues such as guilt, anger, religious faith, and accountability are explored in deeply felt poems, essays, and narratives. Jew and German alike speak openly of forming and affirming their own identities, reconnecting with roots, and working through their own "psychological Holocaust."

"I set out to find a group of people who, like me, were possessed by a history they had never lived." The daughter of Holocaust survivors, Helen Epstein traveled from America to Europe to Israel, searching for one vital thin in common: their parent's persecution by the Nazis. She found: • Gabriela Korda, who was raised by her parents as a German Protestant in South America; • Albert Singerman, who fought in the jungles of Vietnam to prove that he, too, could survive a grueling ordeal; • Deborah Schwartz, a Southern beauty queen who—at the Miss America pageant, played the same Chopin piece that was played over Polish radio during Hitler's invasion. Epstein interviewed hundreds of men and women coping with an extraordinary legacy. In each, she found shades of herself.

An original contribution to Holocaust studies that demonstrates the theological and psychosocial issues emerging in novels and films by sons and daughters of survivors.

This collection of new essays examines third-generation Holocaust narratives and the inter-generational transmission of trauma and memory. This collection demonstrates the ways in which memory of the Holocaust has been passed along inter-generationally from survivors to the second-generation—the children of survivors—to a contemporary generation of grandchildren of survivors—those writers who have come of literary age at a time that will mark the end of direct survivor testimony. This collection, in drawing upon a variety of approaches and perspectives, suggests the rich and fluid range of expression through which stories of the Holocaust are transmitted to and by the third generation, who have taken on the task of bearing witness to the enormity of the Holocaust and the ways in which this pronounced event has shaped the lives of the descendants of those who experienced the trauma first-hand. The essays collected—essays written by renowned scholars in Holocaust literature, philosophy, history, and religion as well as by third-generation writers—show that Holocaust literary representation has continued to flourish well into the twenty-first century, gaining increased momentum as a third generation of writers has added to the growing corpus of Holocaust literature. Here we find a literature that laments unrecoverable loss for a generation removed spatially and temporally from the extended trauma of the Holocaust. The third-generation writers, in writing against a contemporary landscape of post-apocalyptic apprehension and anxiety, capture and penetrate the growing sense of loss and the fear of the failure of memory. Their novels, short stories, and memoirs carry the Holocaust into the twenty-first century and suggest the future of Holocaust writing for extended generations.

Legacies, Lies and Lullabies: The World of a Second Generation Holocaust Survivor is a smorgasbord of history, memoirs, interviews, poems, recipes and cultural tidbits. It explores the rise of Hitler, the perils of life in Terezin, the soap opera of Eastern European relatives, and the invisible baggage of the second generation. A riveting must-read for anyone who hungers for a slice of humanity.

A disturbing collections of poetry, Ghosts of the Holocaust reveals the lengthy shadows cast by Hitler's "Final Solution." Stewart Florsheim collected these poems by the second generation, children who grew up in a world that, while comfortable, failed to provide answers about the atrocities to which their elders were victim. The poets reflect on their families' experiences before and after the Holocaust. They write about "adjusting" to a new world, coping with their own problems, and overcoming a very different kind of generation gap. The poems shock us into an awareness that, not only the survivors, but also their children live with a history filled with horror and injustice. As disquieting as most of these poems are, they also affirm life. In his foreword, Gerald Stern writes, "It is not that we will either forget or reclaim those years because of these poems; it is not that the poems will even make the past bearable. It is that, in our greatest loss, we have a victory."

Can we remember other people's memories? The Generation of Postmemory argues we can: that memories of traumatic events live on to mark the lives of those who were not there to experience them. Children of survivors and their contemporaries inherit catastrophic histories not through direct recollection but through haunting postmemories--multiply mediated images, objects, stories, behaviors, and affects passed down within the family and the culture at large. In these new and revised critical readings of the literary and visual legacies of the Holocaust and other, related sites of memory, Marianne Hirsch builds on her influential concept of postmemory. The book's chapters, two of which were written collaboratively with the historian Leo Spitzer, engage the work of postgeneration artists and writers such as Art Spiegelman, W.G. Sebald, Eva Hoffman, Tatana Kellner, Muriel Hasbun, Anne Karpff, Lily Brett, Lorie Novak, David Levinthal, Nancy Spero and Susan Meiselas. Grappling with the ethics of empathy and identification, these artists attempt to forge a creative postmemorial aesthetic that reanimates the past without appropriating it. In her analyses of their fractured texts, Hirsch locates the roots of the familial and affiliative practices of postmemory in feminism and other movements for social change. Using feminist critical strategies to connect past and present, words and images, and memory and gender, she brings the entangled strands of disparate traumatic histories into more intimate contact. With more than fifty illustrations, her text enables a multifaceted encounter with foundational and cutting edge theories in memory, trauma, gender, and visual culture, eliciting a new understanding of history and our place in it.

In Inheriting the Holocaust, Paula S. Fass explores her own past as the daughter of Holocaust survivors to reflect on the nature of history and memory. Her journey through time and relationships begins when she travels to Poland and locates birth certificates of the murdered siblings she never knew. Recovering her family's story provides Fass with ever more evidence for the perplexing reliability of memory, its winding path toward historical reconstruction, and a re-imagining of the role Jews played in Poland's past.