More information about this seller Contact this seller. Book Description Condition: new. Book Description Condition: New. Satisfaction Guaranteed! Book is in NEW condition. Seller Inventory Seller Inventory M Seller Inventory Q Items related to Literature or Life. Literature or Life. Semprun, Jorge. Publisher: Viking Adult , Even his death in June 1 has only now begun to trigger more academic endeavors around his work. Its publication seems especially timely, and not onl because of Semprun's recent death.
It corresponds to the huge revival of interest, in contemporary French literature and among scholar and critics, in World War II and the Holocaust, and in literature's con- cern with history.
Jorge Semprun was born in Madrid in to a prestigious fam- ily of politicians and jurists with republican tendencies. Following the out- break of civil war, the family was forced to leave Spain near the end of that year. H later began studying philosophy at the Sorbonne. He was arrested by the Gestapo in October and tortured befor being sent to Buchenwald in January , where he survived unti the Liberation. In Buchenwald he worked in the Arbeitsstatistik, the internal administration office, thanks to his activity in the Spanis 3.
This volume keeps the spelling favored by each author, and the original spelling used for published titles. This content downloaded from This job w ably largely responsible for his survival. Forced to lie low for a few weeks in a safe house in Madrid in , he wrote his first book, Le grand voyage The Long Voyage , the first in a series of Buchenwald memoirs.
Once the well of memory opened, it never closed again un- til his death. Although some of his works - novels and film scripts - are fictions, they are often closely linked to his experiences. In , around the time he wrote his first book, and after a gradual prise de conscience or evolving critical consciousness fostered by a 5. At various points Semprun has been accused of some degree of collaboration due to his work in the Arbeitsstatistik, even to the point of being accused of having been a Kapo.
While these claims seem false Kapo or exaggerated collaboration , it can probably be said that Semprun enjoyed a privileged position, and that like many Com- munists in Buchenwald, the fact of being a Communist largely helped his survival, and his position in the Arbeitsstatistik allowed him to help other Communist inmates sometimes at the expense of others.
His autobiographical Quel beau dimanche! What a Beautiful Sundayl contains some apologetic rejections of the accusations against him and attempts to offer his version of the events forge Semprun, What a Beauti- ful Sundayl, trans. Jorge Semprun, The Long Voyage, trans. Semprun, Literature or Life, trans. La guerre est finie , Ala Resnais's film based on a script by Semprun, retraces some of t events. Notably, as late as , Semprun still defined himself Communist8 and restricted his denunciations to the Party, befo final rupture with Communism as a whole, sharply expressed in Qu beau dimanchel What a Beautiful Sundayl , his autobiographi text of Thus Semprun, originally deported for his activity in Communist Resistance, and then an important clandestine agent member of the Spanish Communist Party, was to become a denoun of Communist practices and Stalinist crimes.
His writing reflects much more than the mental intricacies of a single author in a cocoon. As Colin Davis writes, from the 8. Semprun and Alain Finkielkraut. Accessed April 6, In What a Beautiful Sundayl the narrator speaks of "the guilt I felt at having lived in the blessed innocence of the memory of Buchenwald, the innocent memory of hav- ing belonged to the camp of the just, without the slightest doubt, whereas the ideas for which I thought I was fighting, were serving at the same time to justify the most radical injustice, the most absolute evil: the camp of the just had created and was running the Kolyma camps.
For a detailed chronology of Semprun's life, see "Jorge Semprun. Alongside his testimonial writing on Buchenwald the focus of texts here by Frank- Wygoda, Chaouat, Dorfman, Razinsky, and Tidd , Semprun has written novels discussed here by Davis, Golsan, and Frank- Wygoda , memoirs of his time in Spain, screen plays, notably for Alain Resnais and Costa-Gavras the focus of Coelen's paper here , and essays Gol- san's contribution discusses one of them.
Together, the papers col- lected here constitute an overall assessment of Semprun's work. They carefully represent the various traditions of writing to which Semprun belongs - French literature, Holocaust testimony, Spanish literature, autobiography, the interface of political engagement and writing, bilingual writing. As Kippur shows, research on Semprun tends to bifurcate along national and linguistic lines; scholars of Spanish literature tend to focus on his Spanish memoirs whereas in France and the rest of the world he is much more known for his texts on Buchenwald.
See also Davis7 paper in the current volume. Semprun7s manuscripts are not deposited, to date, at an institution. Most of them are held hy his daughter Dominique Landman. Contributions to the current volume also deal with texts ranging from Sem- prun7s earliest work - Le grand voyage - to his posthumous writings Tidd7s pa- per studies the posthumous Exercices de survie, The reception of Semprun's work is also approached, in Bouju, focusing on the status of his work in Spain, and Kippur, who studies Semprun's internationalization, specifically the translations of his work into English.
The question of whether Semprun is a Spanish author writing in exile or a French author with Spanish origins seems pointless in itself.
Although Semprun's bilingualism can be looked at on an existential level,16 it certainly also marks his writing. The bi- or rather multilingualism of his writing actually forms part of his style, as he frequently uses foreign words that he then translates himself, often passing comment on the linguistic transition as Kippur's paper in this volume bring out , thus raising the question of language, and through it, that o truth and fiction.
This mixture of mod techniques creates the unique color of his texts and his inim voice as an author. In what follows, I reflect on and make mo plicit these basic components of his work. Chronological Labyrinths Perhaps the most striking aspect of Semprun's writing is his cre play with chronology. The reader enters a rollercoaster of ant tion and retrospective descriptions where temporal location is Thomas Klinkert, "Quand la 'neige d'antan7 efface la 'langue originaire.
See Kippur, "Resisting Self -Translation. As early as Le grand voyage, the narrative constantly between times in what Lawrence L. Langer has called "a nonch logical method. The events are rarely presented linear sequence, from early to late although at times in Le g voyage and Le mort qu'il faut The Dead Man We Needed , for ple, some overall chronology is kept but interspersed with numer digressions He was sent to Buchenwald concentration camp. The genius of the book is in achieving great depth and meaning as it tries to define the difficulty of what is to cope with the memories as a prisoner of the Nazis.
Por el contrario, Jorge es decididamente su propio protagonista. O, simplemente, con observarse a uno mismo. Mar 29, S. Never, I think, has the same tragedy Holocaust memoirs naturally invite comparison with one another — they are their own, peculiar genre. Te animamos a bucear en el archivo de Revista de Libros. Feb 19, Michael Selvin rated it liked it. Want to Read saving…. Semprun weaves an intricate narrative of his years escriyura, during and after his long stay at the concentration camp of Buchenwald.
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