Culture

The story is well known: Kafka asked his friend Max Brod to destroy his manuscripts. Not only did Max Brod not do so, but he became the guardian of the writer’s memory, his biographer and publisher, the owner of most of his manuscripts – which he took to Israel. Who owns all these archives today? In his book-investigation, Benjamin Balint followed the events surrounding Kafka’s manuscripts, from the political and literary quarrels to the judicial outcome. Philippe Zard returns for K. to the story of a misheritage.

The impromptu arrival of the Netanyahu family one day in the winter of 1959 under the roof of Ruben Blum’s family causes the life of the young history professor at a provincial university in New York State to falter. But how can we understand this explosive event that American novelist Joshua Cohen stages without giving us the key?

In 1926, Samuel Schwarzbard assassinated Symon Petloura, the general-in-chief of the Ukrainian nationalist revolution, whose men were responsible for about 40% of the exactions committed during the pogroms that struck the Ukraine during the civil war (1918-1926). Paul Celan was born in Czernowitz, where Schwarzbard lived for a time and is now in Ukraine. Part of his poetry evokes “the widest of rivers”, the long history of anti-Semitic crime that links the history of pogroms to that of the Shoah. Yvan Segré dives into Celan’s poetry and questions, from it, a memory of the Ukraine like the gesture of Samuel Schwarzbard.

What is a Jewish writer? And how does one distinguish oneself as such? These are the questions that Henri Raczymow attempts to answer for himself: he returns to both his essential readings and to some of his books, to explain how – after the Shoah and, as he writes, having “lost his sources” – he has returned to his own Jewish history.

World famous since its adaptation by Walt Disney, Bambi, A life in the woods, was first a children’s story imagined, a century ago, by the Viennese Jewish writer of Hungarian origin, Felix Salten. A writer who was also a convinced Zionist and a militant anti-assimilationist. Starting from the author’s biography, Mitchell Abidor offers us another reading of Bambi as a metaphor for the life of the Jews in Eastern Europe, torn between the mass murders of the pogroms and the suicide of assimilation; far from a children’s tale.

“I like Sukkot. For a week, Jews are required to eat their meals in an ephemeral dwelling, in Hebrew a sukkah, which is translated, for want of a better word, as “booth.” This draws the curiosity of children and perhaps softens the hearts of antisemites. (…) A clever solid-fragile construction to which one repairs three times a day to eat, dining cart in tow. By temporarily settling outside while keeping one foot at home, inside and outside merge, primary and secondary residence are reversed. In short, you stage your own exile. And as I never manage to feel totally at ease where I am, hoping at each station that the next one will be the right one, this festival of fidgeting suits me perfectly.”

Tal Hever-Chybowski is the director of the Paris Yiddish Center – Medem Library, the largest center for Yiddish language and literature in Europe. His native language, however, is Hebrew, which is the focus of journal he has founded, Mikan Ve’eylakh (“From Now On/From Here On”). The journal’s novelty rests in its treatment of Hebrew not as the exclusive property of the State of Israel, but as a Diasporic language in its own right. Mikan Ve’eylakh’s two issues feature articles, short stories and poems by Hebrew writers living in the Diaspora. Macha Fogel, K.’s Yiddishland correspondent, recently met up with Hever-Chybowski to discuss his project.

Starting this week, K. is publishing in several installments a long interview with Daniel Mendelsohn. The great American writer, who became famous with The Lost, is the author of a rich body of work in which various traditions (classical, Jewish and American traditions, among others) intersect and the art of storytelling fuses with scholarly analysis. Déborah Bucchi and Adrien Zirah, who conducted the interview, examine some of the most singular and ambitious elements of Mendelsohn’s oeuvre in this introduction. Bucchi and Zirah situate his work at the crossroads between auto-fiction and mythic dialogue.

What happened that caused the newspaper published by the Zentralrat der Juden in Deutschland, the Central Council of Jews in Germany, to demand that the Minister of Culture resign? The presence of a blatantly anti-Semitic painting in the world’s largest contemporary art exhibition – the documenta, which has been held every five years since 1955 in the city of Cassel. It was due to the presence of the painting but also the result of a long debate before the fact about the anti-Semitic character of the 2022 edition of documenta, on which the minister did not want to take position in the name of freedom of art. Julia Christ reports on the crazy sequence of discussions and false humility consequent to the appearance of this work.