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The latest addition to our Reviews Section is a piece by Dan Vitale on Aharon Appelfeld’s Until the Dawn’s Light, which is translated from the Hebrew by Jeffrey M. Green, and available from Schocken Books.
Dan is one of our contributing reviewers, and has written a ton of great pieces for us. Most recently, he wrote about Amos Oz’s Scenes from Village Life. You can read all of his past reviews by clicking here.
And here’s the opening of his Appelfeld piece:
The violence in the fiction of Aharon Appelfeld—often anti-Semitic, frequently represented by the Holocaust itself—usually occurs after, or prior to, his novels’ main action. Thus the novels typically occupy one of two psychic spaces: the period of rising tension in the months or years before Hitler’s advent and the Final Solution, or the lawless aftermath of World War II, in which concentration-camp survivors wander devastated landscapes in search of a new life. Rarely, then, do the events presented in an Appelfeld novel contain as much raw brutality as we encounter in Until the Dawn’s Light, and rarely is it presented in as private a context: the violence inflicted upon a Jewish wife by her gentile husband.
When we first meet Blanca Guttmann in about 1912, she is twenty-three and fleeing across Austria by train with her four-year-old son Otto. They stop and rent a small house by a river, where Blanca begins writing an account of her life for Otto to read when he is old enough. Most of Until the Dawn’s Light is taken up with Appelfeld’s (not always chronological) summary of what Blanca writes, beginning with her upbringing as the cherished daughter of a moderately successful if unhappy businessman and his sickly wife. Blanca is talented at mathematics and has an opportunity to study in Vienna on a scholarship once she finishes high school. But, seemingly on a whim, she abandons this path in favor of a blossoming friendship with a dull-witted classmate, Adolf, who is threatened with expulsion by the very same teachers who dote on Blanca. Adolf, a gentile, blames the teachers’ animosity on their Jewishness, an opinion that meek Blanca, in sympathy with Adolf’s academic struggles, does little to counter, considering that she is Jewish herself. After high school, she marries Adolf, converts to Christianity, and her life of torment begins.
Click here to read the full piece.
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Three Percent is supported in part by the New York State Council on the Arts.
