Holocaust Impiety in Literature, Popular Music and Film
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1 Holocaust Impiety in Literature, Popular Music and Film
2 Holocaust Impiety in Literature, Popular Music and Film Matthew Boswell University of Salford Palgrave macmillan
3 Matthew Boswell 2012 Softcover reprint of the hardcover 1st edition All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6 10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act First published 2012 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number , of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin s Press LLC, 175 Fifth Avenue, New York, NY Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave and Macmillan are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN ISBN (ebook) DOI / This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress
4 Contents List of Illustrations Acknowledgements vi vii Introduction 1 Part I Poetry 1 Sylvia Plath, Ariel 41 2 W. D. Snodgrass, The Fuehrer Bunker 57 Part II Popular Music 3 American Punk: Ramones, Ramones 97 4 English Punk: Sex Pistols, Never Mind the Bollocks, Here s the Sex Pistols and The Great Rock n Roll Swindle Post-Punk: Joy Division, Closer Post-Punk Rock: Manic Street Preachers, The Holy Bible 124 Part III Film 7 Night and Fog (Alain Resnais) Shoah (Claude Lanzmann) The Grey Zone (Tim Blake Nelson) Inglourious Basterds (Quentin Tarantino) 173 Notes 185 Bibliography 202 Index 207 v
5 Illustrations 1 Schindler s List 2 2 Inglourious Basterds 12 3 Landscape after Battle 26 4 Shoah, Michaël Podchlebnik 28 5 Maus II 31 6 Sid Vicious 33 7 The Fuehrer Bunker, Himmler 60 8 The Fuehrer Bunker, Speer 66 9 Night and Fog Night and Fog Night and Fog Night and Fog Night and Fog Shoah, Abraham Bomba Shoah, Franz Suchomel The Grey Zone The Grey Zone The Grey Zone Inglourious Basterds Inglourious Basterds Inglourious Basterds 183 vi
6 Acknowledgements Every effort has been made to trace all copyright holders, but if any has been inadvertently overlooked, the publisher will be pleased to make the necessary arrangements at the first opportunity. I gratefully acknowledge the copyright-holders permission for the use of the following material: From MAUS II: A SURVIVOR S TALE: AND HERE MY TROUBLES BEGAN by Art Spiegelman, copyright 1986, 1989, 1990, 1991 by Art Spiegelman. Used by permission of Pantheon Books, a division of Random House, Inc. Page 45 ( So do you admire your father for surviving... ) taken from THE COMPLETE MAUS by Art Spiegelman (Penguin Books, 2003). Copyright Art Spiegelman, 1973, 1980, 1981, 1982, 1983, 1984, 1985, 1986, 1989, 1990, W. D. Snodgrass, excerpts from The Fuehrer Bunker: The Complete Cycle. Copyright 1995 by W.D. Snodgrass. Reprinted with the permission of BOA Editions Ltd., Sylvia Plath, Daddy, Lady Lazarus and Mary s Song from Collected Poems. Copyright 1960, 1965, 1971, 1981, 1989 by the Estate of Sylvia Plath. Used by permission of Faber and Faber. Manic Street Preachers, The Intense Humming of Evil from The Holy Bible. Copyright 1994 Sony Music Entertainment (UK) Ltd. Used by permission of Sony/ATV Publishing. Stephen Moss, Yann Martel: Jewish people don t own the Holocaust. Copyright 2010 by Stephen Moss. Used by permission of The Guardian. Ella Taylor, Quentin Tarantino: the Inglourious Basterds Interview from Village Voice online. Copyright 2009 by Ella Taylor. Used by permission of The Village Voice. Thanks to Richard Herring, Scott Macauley, Lee Weston Sabo and Kim Morgan for allowing me to use their material. It turns out that here s nothing anarchic about punk when it comes to clearing lyric copyright permissions: cash from chaos all the way. But listening to songs always beats reading lyrics and I have made this Spotify playlist, vii
7 viii Acknowledgements which includes most of the songs discussed in this book plus a few extras: For the front cover concept and photography, I m very grateful to Steven Cherry, Laurie Travis and Lili Bizarre Fancy Dress Hire, Liverpool. My thanks to Peter Barrett, Ghassan Aouad, Mike Hession and all the colleagues at the University of Salford who have given me the time and support needed to write this book, and to Palgrave Macmillan for publishing it. Felicity Plester and Catherine Mitchell have been a great help. I d also like to thank all those who have inspired me to spend the best years of my life sitting in darkened rooms reading and writing about the Holocaust. Antony Rowland, in particular, has been a great friend and mentor. And actually it hasn t all been darkened rooms: Antony and I have discussed genocide in many a pub, plane and sauna. Robert Eaglestone has been a long-standing inspiration: his writing has deeply influenced this book. My interest in Holocaust representation began with an undergraduate module at the University of Sheffield, led by Sue Vice and the late Bryan Burns, who will be fondly remembered by all those who were lucky enough to have been taught by him. Throughout my postgraduate years and after, Sue has been a constant source of guidance, expertise and encouragement. Finally, thanks to my family and friends this goes without saying, but Mum, here s your mention! Special thanks to Iain Twiddy for first introducing me to many of the writers and bands who form the subject of this book.
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