The holocaust

Nearly a quarter of a century ago, Malcolm Gladwell wrote The Tipping Point in which he explained how little things could suddenly add up to cause huge change, in phenomena as diverse as the popularity of Hush Puppies and the reduction of crime in New York City. The book achieved its own tipping point and became a bestseller. It was followed by Outliers, which proposed among other things that in order to be really good at something you had to have practised at it for 10,000 hours. This is my first shot at reviewing a book by Gladwell, so I am several thousand hours short of practice. The phrase ‘tipping

‘Nothing escape’s the wolf’s fangs,’ thinks the narrator of Katerina. Through an outlandish sequence of chances and choices, somehow its author did just that. Aharon Appelfeld, a child of assimilated parents, lived in the old Jewish heartland of Bukovina. In 1940, short-lived Soviet occupation gave way to Nazi control. His mother was murdered and his father disappeared. Young Aharon escaped the Czernowitz ghetto and survived as a wild child in the forests, sheltered by a village prostitute, then as the ‘slave’ of a Ukrainian bandit gang. When the Red Army arrived he cooked for them before, via a peril-strewn route through Italy, he migrated to Mandate Palestine. In newborn Israel

In Lore Segal’s An Absence of Cousins, Nat Cohn, a fellow at the Concordance Institute, a small college in Connecticut, browses through a children’s novel during a staff meeting and exclaims: ‘We don’t write stories like this any more. Chronic plot deficiency is our problem.’ The problem for contemporary novelists is that tightly woven plots of cause and effect belie the way their readers experience the world. Like her compatriot Elizabeth Strout in Olive Kitteridge and Olive Again, Segal addresses it by featuring a single protagonist, Ilka Weisz, a young Austrian émigrée, and various recurring subsidiary characters, in a series of closely interlinked stories. Many of these first appeared in

In the summer of 1942, the Polish poet Władysław Szlengel made a detour into light verse with ‘The Passports’: ‘I would like to have a Uruguayan passport/ Oh, what a beautiful land it is/ How nice it must feel to be the subject/ Of the land called Uruguay…’ Successive quatrains hymned the joys of Paraguayan, Costa Rican, Bolivian and Honduran citizenship before the final stanza declared that it was only with one of these citizenships that ‘one can live peacefully in Warsaw’.  The joke was serious. Szlengel was a Jewish man living in the Warsaw ghetto; and as Roger Moorhouse’s absorbing new book describes, Latin American passports were, or could

Published in German in 2011, this book was the high point of a 20-year-old tradition of ‘Anti-Gypsyism Studies’, which suggested that all previous histories of Roma by non-Roma represented a self-serving, defensive ideology of oppressors demonising the oppressed. Anti-racist scholars should therefore stand aside from such colonialist impertinence and leave the actual history of Roma to be written one day by Roma themselves. They should concentrate on chronicling the racism of their own people – Europeans, and especially the Germans. The book is not, therefore, a history of Roma, and was not intended as such. The original title was Europa erfindet die Zigeuner, which means ‘Europe invents the Roma’. It

The first time a friend told me that Hitler had the right idea about the Jews I was six. Most of my classmates agreed, and quoted their parents in evidence – from which I conclude that anyone who suggests that they don’t understand how the Holocaust happened is either a fool or a liar. It was a team effort by popular demand. If the Germans had won the war, no one would have felt bad about it. But the Germans lost. How awkward. Anne was freezing, starving and dressed in rags. ‘They took my hair,’ she said. Then she disappeared It became necessary to convince non-Jewish Europeans that mass-murdering Jewish

At the beginning of his profoundly moving memoir of his grandparents, parents, the Holocaust and the Gulag, Daniel Finkelstein writes: This the story of how my family took a journey which ended happily in Hendon, eating crusty bread rolls with butter in the café near the M1, but on the way took a detour through hell. Who would have guessed what those people, tucking into rolls at the newly-opened Brent Cross shopping centre in the mid-1970s, had been through? There was Finkelstein’s elegant Polish-Jewish grandmother, Lusia Finkelstein, known locally as ‘the Lady of Hendon Central’ in her hat; his German-born Jewish mother, née Mirjam Wiener, a maths teacher, who particularly

W.G. Sebald is the modern master of the uncanny — or perhaps that should be ‘was’, as he died in a car crash near Norwich in 2001 at the age of 57. Deciding which tense to use depends on whether you mean ‘W.G. Sebald’ as a shorthand for his body of work, which outlives him, or to refer to the man who wrote it, known to his acquaintances as Max. The question poses its own Sebaldian conundrum, reflecting his strange crepuscular writings with their meditations on the dead and the living, past and present, culture and identity. His ghost lives on in the flickering half-light, the most enigmatic, perhaps, of