" ... Reflecting on his experiences of the Holocaust and the Soviet occupation of Hungary following the Second World War, Kertész likens the ideolkogical machinery of National Socialism to the oppressive routines of life under Communism. He also discusses the complex publication history of Fatelessness, his ... novel about the experiences of a Hungarian child deported to Auschwitz and the lack of interest with which it was met in Hungary due to its failure to conform to the Communist government's simplistic history of the relationship betwen Nazi occupiers and Communist liberators. The underlying theme is the dialogue between Kertész and Cooper is the difficulty of mediatuing the past and creating models for interpreting history, and how this challenges ideas of self. ..."--Book jacket.

The first word in this mesmerizing novel by the winner of the Nobel Prize for Literature is “No.” It is how the novel’s narrator, a middle-aged Hungarian-Jewish writer, answers an acquaintance who asks him if he has a child. It is the answer he gave his wife (now ex-wife) years earlier when she told him that she wanted one. The loss, longing and regret that haunt the years between those two “no”s give rise to one of the most eloquent meditations ever written on the Holocaust. As Kertesz’s narrator addresses the child he couldn’t bear to bring into the world he ushers readers into the labyrinth of his consciousness, dramatizing the paradoxes attendant on surviving the catastrophe of Auschwitz. Kaddish for the Unborn Child is a work of staggering power, lit by flashes of perverse wit and fueled by the energy of its wholly original voice. Translated by Tim Wilkinson

Publisher Description

Translated into English at last, Fiasco joins its companion volumes Fatelessness and Kaddish for an Unborn Child in telling an epic story of the author's return from the Nazi death camps, only to find his country taken over by another totalitarian government. Fiasco as Imre Kertesz himself has said, "is fiction founded on reality"—a Kafka-like account that is surprisingly funny in its unrelentingly pessimistic clarity, of the Communist takeover of his homeland. Forced into the army and assigned to escort military prisoners, the protagonist decides to feign insanity to be released from duty. But meanwhile, life under the new regime is portrayed almost as an uninterrupted continuation of life in the Nazi concentration camps-which, in turn, is depicted as a continuation of the patriarchal dictatorship of joyless childhood. It is, in short, a searing extension of Kertesz' fundamental theme: the totalitarian experience seen as trauma not only for an individual but for the whole civilization—ours—that made Auschwitz possible.

The first and only memoir from the Nobel Prize–winning author, in the form of an illuminating, often funny, and often combative interview—with himself Dossier K. is Imre Kertész’s response to the hasty biographies and profiles that followed his 2002 Nobel Prize for Literature—an attempt to set the record straight. The result is an extraordinary self-portrait, in which Kertész interrogates himself about the course of his own remarkable life, moving from memories of his childhood in Budapest, his imprisonment in Nazi death camps and the forged record that saved his life, his experiences as a censored journalist in postwar Hungary under successive totalitarian communist regimes, and his eventual turn to fiction, culminating in the novels—such as Fatelessness, Fiasco, and Kaddish for an Unborn Child—that have established him as one of the most powerful, unsentimental, and imaginatively daring writers of our time. In this wide-ranging and provocative book, Kertész continues to delve into the questions that have long occupied him: the legacy of the Holocaust, the distinctions drawn between fiction and reality, and what he calls “that wonderful burden of being responsible for oneself.”

At the age of 14 Georg Koves is plucked from his home in a Jewish section of Budapest and without any particular malice, placed on a train to Auschwitz. He does not understand the reason for his fate. He doesn’t particularly think of himself as Jewish. And his fellow prisoners, who decry his lack of Yiddish, keep telling him, “You are no Jew.” In the lowest circle of the Holocaust, Georg remains an outsider. The genius of Imre Kertesz’s unblinking novel lies in its refusal to mitigate the strangeness of its events, not least of which is Georg’s dogmatic insistence on making sense of what he witnesses–or pretending that what he witnesses makes sense. Haunting, evocative, and all the more horrifying for its rigorous avoidance of sentiment, Fatelessness is a masterpiece in the traditions of Primo Levi, Elie Wiesel, and Tadeusz Borowski.

“An illuminating exploration that offers a worried look at Holocaust representation in contemporary culture and politics.” —H-Holocaust In this provocative work, Alvin H. Rosenfeld contends that the proliferation of books, films, television programs, museums, and public commemorations related to the Holocaust has, perversely, brought about a diminution of its meaning and a denigration of its memory. Investigating a wide range of events and cultural phenomena, such as Ronald Reagan’s 1985 visit to the German cemetery at Bitburg, the distortions of Anne Frank’s story, and the ways in which the Holocaust has been depicted by such artists and filmmakers as Judy Chicago and Steven Spielberg, Rosenfeld charts the cultural forces that have minimized the Holocaust in popular perceptions. He contrasts these with sobering representations by Holocaust witnesses such as Jean Améry, Primo Levi, Elie Wiesel, and Imre Kertész. The book concludes with a powerful warning about the possible consequences of “the end of the Holocaust” in public consciousness. “Forcefully written, as always, his new volume honors his entire life as teacher and writer attached to the principles of intellectual integrity and moral responsibility. Here, too, he demonstrates erudition and knowledge, a gift for analysis and astonishing insight. Teachers and students alike will find this book to be a great gift.” —Elie Wiesel “This remarkable new work of scholarship—written in accessible language and not in obscure academese—is exactly the Holocaust book the world needs now.” —Bill’s Faith Matters Blog “This book has monumental importance in Holocaust studies because it demands answers to the question how our culture is inscribing the Holocaust in its history and memory.” —Arcadia