Are you saying that the survivor gets a pass? Where does that leave
survivors like Celan or Canetti?
I've run a few holocaust survivor writing and reminiscence workshops. The
stories were memorable, to say the least, but the writing rarely was. Some
of what I asked of participants was what I would ask of participants of any
workshop--rather than something like showtrial testimony, which is what
most were accustomed to presenting, I pushed them towards greater and
greater detail of things, feelings, etc., and I helped them clarify their
writing. Still, the interest was more documentary than literary. I'm not
sure why that's a difficult distinction. We value writing for different
reasons.
As to feedback or criticism, don't we always seek the appropriate level of
tact?
Within the survivor world I noticed a reticence to criticize based on
degree of suffering, and there was a definite hierarchy, from death camp
survivor to refugee. No criticism was ever allowed to travel upwards--the
death camp survivor could criticize the labor camp survivor, but not the
other way around. And no one could criticize the dead or imply that their
own survival had been aided by superior wiliness--that would imply that the
dead had perished because they lacked survival skills. The lowest on the
hierarchy, of course, was me, which was awkward, because my position of
authority was in itself a breach of the rule.
Doug, are you suggesting something like this when you say "it depends on
who's writing it?"
Mark
At 11:12 AM 11/28/2005, you wrote:
>Interesting conversation, all.
>
>I tend toward agreeing with all the responders in various ways.
>
>I certainly tried to keep discussion in my writing courses on how well the
>pieces did what they seemed to be trying to do, & not going off on
>discussions of the writers' personal senses of the themes, concepts, etc
>they had chosen. Not because those weren't important (& indeed, sometimes,
>it was important to address theme; as in Mairead's example: when everyone
>really enjoyed a poem they also felt was in some ways offensive (to
>someone else usually, but).
>
>Still, the reason for being in the writing workshop was to improve one's
>writing, not one's morals.
>
>On the other hand, I have often been moved by what I know to be lesser art
>toward tears, often to my own chagrin. So I'm not sure how I would speak
>of that to the writer/reader. Or if I'd just stay silent.
>
>The Holocaust example is hard in this context, though, & I agree with
>those who say it depends, especially on who is writing it, not just how
>well that person writes but what his or her relation to the event may be.
>
>Doug
>Douglas Barbour
>11655 - 72 Avenue NW
>Edmonton Ab T6G 0B9
>(780) 436 3320
>
>Shakespeare
>Drag yr mouldy old bones
>Up these stairs & tell me
>What you died of,
>I think
>I've got it
>Too.
>
> Sharon Thesen
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