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Explores the connections between muteness and the complicated acts of survival, testimony, memory, and interpretation, through focused readings of Holocaust fiction by Kosinski, Wiesel, Tournier, Ida Fink, and others.Through new close readings of Holocaust fiction, this book takes the field of Holocaust Studies in an important new direction. Reading a wide range of narratives representing different nationalities, styles, genders, and approaches, Horowitz demonstrates that muteness not only expresses the difficulty in saying anything meaningful about the Holocaust―it also represents something essential about the nature of the event itself. The radical negativity of the Holocaust ruptures the fabric of history and memory, emptying both narrative and life of meaning. At the heart of Holocaust fiction lies a tension between the silence that speaks the rupture, and the narrative forms that attempt to represent, to bridge it.This book argues that the central issues in Holocaust historiography and literary criticism are not simply prompted by the fictionality of imaginative literature―they are already embedded as self-critique in the fictional narratives. While the current critical discourse argues either for or against the unrepresentability of these events (and thus the appropriateness of imaginative literature), this book develops the theme of muteness as the central way in which literary texts explore and provisionally resolve these central issues. Focusing on the problem of muteness helps unfold the ambivalences and ambiguities that shape the way we read Holocaust fiction, and the way we think about the Holocaust itself.

This book addresses how artifacts and objects of contemporary art create meaning and mythology in equal measure. What challenges does exhibiting a work pose to the inherent muteness of objects? How do artists choose to speak on behalf of inanimate artifacts and byproducts of material culture and the natural world? This volume coincides with an exhibition that examines these questions and is organized around the idea that objects possess narrative histories that the conventions of display can only, at best, approximate. In recent years, the continued emphasis on an art of ideas—inherited from the legacies of Conceptual and post-Conceptual art—has sought to broaden the function of everyday objects. Artists have, as a result, developed textual and non-textual approaches that reveal a faith in objects to communicate as well as skepticism of the promises of unmediated expression. The book is illustrated with works by Darren Bader, Kasper Bosmans, Carol Bove, Andrea Büttner, Jason Dodge, Haris Epaminonda, Iman Issa, Hassan Khan, Antonio Vega Macotela, Jill Magid, Dave McKenzie, Christodoulos Panayiotou, and others.