Momik, the only child of two survivors, is brought up in Israel by a family seeking to ignore the past. No-one will explain to him what life was like 'Over There' or what the 'Nazi Beast' is. His 9-year-old mind imagines a Nazi Beast hiding in the cellar, waiting to feed on Jews. Momik increasingly shields himself from all feeling and attachment. ...
Momik, the only child of two survivors, is brought up in Israel by a family seeking to ignore the past. No-one will explain to him what life was like 'Over There' or what the 'Nazi Beast' is. His 9-year-old mind imagines a Nazi Beast hiding in the cellar, waiting to feed on Jews. Momik increasingly shields himself from all feeling and attachment. But through the stories his great-uncle tells him-the same stories he told the commandant of a Nazi concentration camp-Momik, too, becomes "infected with humanity." See Under: Love is a luminously imaginative and profoundly affecting work.
Good. Jacket is intact but heavily worn or soiled, may have large tears or chips. Cover is lightly worn or soiled, with shelf edge wear and bumped corners. Binding appears gently read, but still square and tight. Pages may contain former owner name, occasional underlining or marks, light reading wear or soiling.
Publishers Weekly, 1997-08-18 The only child of two Holocaust survivors learns to open himself to attachment and humanity. (Sept.)
Publishers Weekly, 1989-02-17 This lengthy, highly ambitious, phantasmagoric treatment of the ineffable Holocaust is far less accessible than Grossman's critically acclaimed The Yellow Wind , nonfiction reportage that elucidated the West Bank imbroglio. What begins as a wrenching portrait of Momik, an emotionally scarred nine-year-old Israeli child of Holocaust survivors, and his warped fantasy world, soon metamorphoses into fiction penned by the adult Momik. Now a self-conscious, tortured writer, Momik the man believes he is the vessel for new prose by both Bruno Schulz, the legendary Polish-Jewish author murdered by the Nazis, and Momik's great-uncle, Anshel Wasserman, whose popular children's adventures are updated and distorted as Momik imagines him spinning tales for a Nazi commandant of a concentration camp. Although stylistically daring, the bulk of Grossman's novel never re-creates the pathos that introduced Momik the child. As Wasserman's story unfolds, ``without any appreciable logic or trace of plot, without concern for the sacred unity of time and place,'' its appeal will elude many readers. (Apr.)
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