By Gina Herrmann Ofelia Ferran
Featuring the 1st English-language selection of essays on Jorge Semprun, this quantity explores the lifestyles and paintings of the Spanish Holocaust survivor, writer, and political activist. Essays discover his cultural construction in all its manifestations, together with the position of testimony and fiction in representations of the Holocaust.
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Extra resources for A Critical Companion to Jorge Semprún: Buchenwald, Before and After
Piecing together the family puzzle allows readers, Nicoladzé claims, to “follow the reconstruction of a subject in crisis,” one who rejects being determined by his family history while, ever so subtly, constantly allowing readers to sense the influence of that history on his personal development. Javier Pradera, Semprún’s cherished old comrade, pays homage to his friend in a chapter that appears here posthumously. In “Jorge Semprún and his Heteronym Federico Sánchez,” Pradera studies how Semprún himself has explained his political development from disciplined communist militancy to his expulsion from the PCE in 1964.
Screenplay with Juan José Saer and Hugo Santiago. Dir. Hugo Santiago Muchnick. A famous exiled accordion player in Paris dreams of going back to Buenos Aires despite the military dictatorship, when his sister, a member of an armed resistance group, comes to visit him. 1988. El Salvador, le pays des quatorze volcans. Screenplay with Jacques Lebas. Dir. Florestano Vancini. One 90-minute episode, focusing on the civil war in El Salvador in the 1980s – part of a longer series about the French physicians who founded Doctors without Borders.
Finally, as the sole text within the fourth category of Semprún’s narrative production, Adieu, vive clarté . . (1998) is a first-person memoir in which Semprún wanted to present a time before Buchenwald, his childhood and youth in Madrid, Holland, and France, although the memories of the camp cannot be kept fully at bay. As Ursula Tidd demonstrates in her chapter in this volume, Adieu foregrounds Semprún’s linguistic, national, and sexual development and becomes the narrative space where he contemplates the sensual and traumatic memories associated with his mother’s life and death.
A Critical Companion to Jorge Semprún: Buchenwald, Before and After by Gina Herrmann Ofelia Ferran