The New York Times has a really interesting article today about “Stalags,” “a series of pornographic pocket books called Stalags, based on Nazi themes,” which were best-sellers in the 1960s.
The books told perverse tales of captured American or British pilots being abused by sadistic female SS officers outfitted with whips and boots. The plot usually ended with the male protagonists taking revenge, by raping and killing their tormentors.
These books probably didn’t have a lot of literary merit (although “I Was Colonel Schultz’s Private Bitch” is a pretty great title), but the upcoming release of the documentary “Stalags: Holocaust and Pornography in Israel” demonstrates that these books did have a significant impact on the culture and the representation of Nazism.
After decades in dusty back rooms and closets, the Stalags, a peculiar Hebrew concoction of Nazism, sex and violence, are re-emerging in the public eye. And with them comes a rekindled debate on the cultural representation here of Nazism and the Holocaust, and whether they have been unduly mixed in with a kind of sexual perversion and voyeurism that has permeated even the school curriculum.
And although it doesn’t always seem the case, fiction can be quite powerful. According to the film, these books came out of the Eichmann trial and was an extension of K. Tzetnik’s writings, which were the first person to write about Auschwitz in Hebrew.
K. Tzetnik was a pseudonym for Yehiel Feiner De-Nur. The alias, short for the German for concentration camper, was meant to represent all survivors, a kind of Holocaust everyman. One of K. Tzetnik’s biggest literary successes, “Doll’s House,” published in 1953, told the story of a character purporting to be the author’s sister, serving the SS as a sex slave in Block 24, the notorious Pleasure Block in Auschwitz.
Though a Holocaust classic, many scholars now describe it as pornographic and likely made up.
The idea of falsified Holocaust memoirs is one that comes up in Omega Minor, another book we’ve been on about this week.
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .