262:
being persecuted for being a raving genius, rather than for being a Jew. For example, Andi describes his family's move to the suburbs following a pogrom as "guided by my father's star." Though the star in question is clearly the Star of David, Andi later refers to this star as "the star of his destiny," making the star into a symbol of his father's travels. With this choice, Kiš humanizes his father, who was stripped of his identity by the
Holocaust.
143:. Kiš describes the machine in detail and includes a sketch of the machine, so as to convey not only that Andi's mother uses the machine to create beauty but that the machine itself is beautiful. This beauty symbolizes home or the ability to feel at home. When the Schams flee to Hungary, the sewing machine is lost "in the confusion of war." This loss symbolizes how the war destroys Andi's home.
238:
youthful and slightly hyperbolic style", though he felt that the book lacked an overall purpose. Croucher also remarked on the impossibility of distinguishing between fact and fiction, which became a hallmark of Kiš's work. Vasa
Mihailovich comments on the novel's charm, which he says was unsurpassed even by Kiš's later "more sophisticated and mature books".
83:
fallen apart." In the final scene of the novel, Andi wanders through the same woods that were the setting for an earlier imagined encounter in which Eduard was accused of being an Allied spy. He claims that his father's "ghost" haunts those woods. Andi's mother encourages him to leave as it is getting dark.
19:
95:
The novel is structured as a "loosely connected chronological sequence of half-explained adventures". Most of the focus is on the father, and what happens to the mother and child, living with difficulty in impoverished circumstances, is only partially explained. Refusing to give any moral judgment of
261:
is unusual in that while it is ostensibly about the
Holocaust, since Eduard dies in Auschwitz, Kiš makes few explicit references to the Holocaust. Aleksander Stević argues that Kiš chooses to have Andi suppress memories of the Holocaust so as to give Eduard autonomy. Andi imagines that his father is
151:
Upon hearing that his uncle has died, Andi begins to dwell obsessively on his own mortality. This realization can be seen as Andi's first step toward self-analysis. Andi becomes determined to outwit death by catching "the angel of sleep." Though he is not successful in this endeavor, Andi's struggle
301:
Both Kertész and Kiš attempt to humanize victims of the
Holocaust. When asked by reporters if the camps are as horrific as they've heard, György claims that at times he was "happy" in the camps, a form of resistance against a regime that wants to strip him of his emotional autonomy. This is similar
82:
The narrative structure becomes more fractured after Eduard's departure. Andi imagines that his father is following him in disguise and invents stories about his parents' first meeting. Andi acknowledges that "ever since my father vanished from the story, from the novel, everything has come loose,
237:
The novel "was greeted by the critics as a significant work by a promising young writer". By the time it was translated and published in
English, it had already appeared in French, German, Polish, and Hungarian. English reviews were mixed but mostly positive. Murlin Croucher praised the "rich yet
188:
The novel's title possibly derives from an accusation made by the
Hungarian fascists against the father: (falsely) accused of being an Allied spy, an accusation the son wants to believe since it increases his father's heroic status, he is said to direct the Allied planes to deliver the bombs that
164:
about his own mortality often keep Andi from sleeping, and when he does fall asleep he is restless and plagued by nightmares. Andi has recurring dreams of conquering the "angel of death." These dreams are so terrifying that when he wakes up his first thoughts are "akin to mortal fear." Andi only
165:
overcomes these dreams when in his dreams he declares "I AM DREAMING," which subdues the angel. He then begins to channel his "darkest impulses" into his dreams, eating the poppyseed cakes that are denied him in his real life or pursuing a village woman with whom he is fascinated.
99:
Though Andi is a child, his narratorial voice is remarkably mature. Mark
Thompson describes Andi as a "hybrid narrator who blends the expressive power of an accomplished artist with the limited understanding-- but the unlimited imagination, or intuition-- of a young person."
298:, bears resemblance to Andi in that his innocence blinds him to what is going on around him. György continually tries to normalize and reconcile what he has seen in the camps, as a way of coping with horrific events, much like how Andi suppresses images of the war.
75:– the updated edition, which Scham will never complete, is to be encyclopedic in its scope. After being shot at by gendarme soldiers, Eduard relocates his family to Hungary where Andi enters primary school. Later Eduard is sent to a ghetto and is then deported to
126:, then relocated his family to Hungary. Also like Scham, Eduard Kiš was confined to a ghetto and later sent to Auschwitz. As Andi does in the novel, Kiš himself would insist that his father had not died in the camps but had merely "disappeared."
86:
Andi is incredibly imaginative, to a fault. He is plagued by recurring nightmares and is haunted by illusions of his father. Only toward the end of the novel, as he starts to read adventure novels, does he begin to constrain his imagination.
96:
the father, Kiš portrays him as a complex character, "enigmatic and half-crazed..., a man with an eloquent tongue and a fanciful mind who frequently abandoned family, sobriety, and reason", according to Murlin
Croucher.
707:
Stević, Aleksandar (2014). "Intimations of the
Holocaust from the Recollections of Early Childhood: Childhood Memories, Holocaust Representation, and the Uses of Nostalgia in Danilo Kiš and Christa Wolf".
316:
were published at a time when discussion on the
Holocaust were discouraged by the Hungarian and Yugoslav governments. The novels are credited for inciting discourse on the Holocaust in these countries.
936:
108:
Kiš openly acknowledged that the Scham family was based on his own family. “I am convinced that it is me, that it’s my father, my mother, my sister,” Kiš said in an interview on
71:. His absent father, Eduard Schamm, is an eccentric and meticulous railway inspector and a writer whose unfinished work is the third edition of a travel guide called
920:
115:
Eduard Scham resembles Kiš's own father (also named Eduard) in his appearance, eccentric personality, and career as a railway inspector-cum-travel guide author.
968:
944:
952:
791:
928:
885:
893:
877:
960:
118:
The events of the novel closely follow Kiš's actual life during World War II. Like his fictional counterpart, Eduard Kiš narrowly escaped a
912:
79:, never to return to his family. Eduard presumably dies in the camps, though Andi insists that his father has merely disappeared.
768:
152:
with his own mortality reveals the character's sensitive nature and makes clear that Kiš does not idolize childhood innocence.
306:
in how Andi continually portrays his father as an exceptional genius who is persecuted not for religion but for his genius.
637:
189:
turn "everything into dust and ashes". More generally, the Holocaust transforms objects of beauty ("gardens") into ashes.
1007:
255:. Like other authors who were young children during the Holocaust, Kiš uses literature to confront childhood traumas.
612:
487:
384:
63:
The narrative is told from the perspective of a young boy, Andi Scham, who at the beginning of the novel resides in
1012:
560:
1002:
1022:
169:
1017:
850:
446:
842:
761:
51:
is based on Kiš's childhood. An English translation, by William J. Hannaher, was published in 1975 by
168:Žarko Martinović argues that Andi's nightmares are best classified as traumatic dreams. Sufferers of
227:
815:
997:
577:
36:
858:
411:
754:
477:
376:
68:
219:, including Andi's relationship with Julia Szabo, Eduard's departure, and the pogrom scene.
992:
252:
52:
503:
Martinović, Žarko (2013). "Dreams and dreaming-related phenomena in Danilo Kiš's novels".
8:
689:
654:
541:
532:
428:
140:
721:
608:
483:
380:
369:
161:
119:
799:
717:
685:
681:
646:
512:
420:
23:
601:
197:
Kiš described Garden, Ashes as part of his “family cycle” trilogy, consisting of
283:
986:
834:
199:
777:
672:
Gorjup, Branko (1987). "Danilo Kiš: From 'Enchantment' to 'Documentation'".
44:
278:
172:
often experience these types of dreams. Andi suppresses his nightmares by
173:
693:
432:
545:
658:
516:
424:
343:(Translated by William J. Hannaher ed.). Harvest in Translation.
76:
18:
180:
long before lucid dreaming became a well-researched field of study.
650:
123:
64:
746:
530:
Motola, Gabriel (1993). "Danilo Kiš: Death and the Mirror".
626:
624:
734:
282:, a 1975 semi-autobiographical novel by Hungarian author
735:
Vasvári, Louise O.; Totosy de Zepetnek, Steven (2005).
621:
160:
Andi is plagued with nightmares throughout the novel.
246:
362:
360:
358:
356:
354:
352:
350:
139:A recurring symbol in the novel is Andi's mother's
600:
368:
251:Many critics have examined the novel as a work of
984:
482:. John K. Roth. U of Washington P. p. 110.
347:
479:Fire in the Ashes: God, Evil, and the Holocaust
475:
471:
469:
467:
265:
762:
375:. Ithaca: Cornell University Press. pp.
739:. Purdue University Press. pp. 195–204.
592:
464:
230:. Compared to his earlier novels, Kiš found
192:
103:
630:
769:
755:
502:
400:
398:
396:
371:Birth Certificate: The Story of Danilo Kiš
700:
404:
366:
134:
17:
496:
393:
183:
985:
706:
671:
665:
631:Mihailovich, Vasa D. (1977). "Rev. of
529:
334:
332:
330:
750:
737:Imre Kertész and Holocaust Literature
558:
215:contains many scenes also present in
129:
43:) is a 1965 novel by Yugoslav author
938:Homo Poeticus: Essays and Interviews
638:The Slavic and East European Journal
439:
241:
73:Bus, Ship, Rail and Air Travel Guide
598:
338:
327:
120:shooting death by gendarme officers
13:
405:Croucher, Murlin (1977). "Rev. of
226:while employed as a lector at the
14:
1034:
247:As a work of Holocaust literature
722:10.5325/complitstudies.51.3.0439
447:"Danilo Kiš and the soda siphon"
728:
776:
710:Comparative Literature Studies
686:10.1080/00085006.1987.11091867
552:
523:
290:as the "sequel or sibling" of
234:much more difficult to write.
1:
559:Sacks, Sam (24 August 2012).
476:David Patterson, ed. (2005).
320:
294:. György, the protagonist of
170:posttraumatic stress disorder
852:The Encyclopedia of the Dead
7:
844:A Tomb for Boris Davidovich
40:
10:
1039:
1008:Novels about the Holocaust
286:. Mark Thompson describes
58:
905:
870:
827:
784:
193:Publication and reception
155:
104:Autobiographical elements
674:Canadian Slavonic Papers
228:University of Strasbourg
146:
90:
22:First UK edition (publ.
1013:Faber & Faber books
578:The Wall Street Journal
451:UCL SSEES Research Blog
367:Thompson, Mark (2013).
922:Po-etika, knjiga druga
860:The Lute and the Scars
571:The Lute and the Scars
412:World Literature Today
27:
1003:Novels set in Hungary
276:is often compared to
141:Singer sewing machine
135:Singer sewing machine
21:
1023:Novels set in Serbia
946:Gorki talog iskustva
599:Kiš, Danilo (1969).
339:Kiš, Danilo (1975).
253:Holocaust literature
184:Origins of the title
1018:Novi Sad in fiction
906:Essays, interviews
607:. New Directions.
533:The Antioch Review
162:Intrusive thoughts
130:Themes and symbols
28:
980:
979:
954:Život, literatura
242:Critical analysis
24:Faber & Faber
1030:
871:Drama and poetry
771:
764:
757:
748:
747:
741:
740:
732:
726:
725:
704:
698:
697:
669:
663:
662:
635:by Danilo Kiš".
628:
619:
618:
606:
596:
590:
589:
587:
585:
556:
550:
549:
527:
521:
520:
517:10.1037/a0032209
500:
494:
493:
473:
462:
461:
459:
457:
443:
437:
436:
425:10.2307/40090596
409:by Danilo Kiš".
402:
391:
390:
374:
364:
345:
344:
336:
1038:
1037:
1033:
1032:
1031:
1029:
1028:
1027:
983:
982:
981:
976:
901:
887:Pesme i prepevi
866:
823:
780:
775:
745:
744:
733:
729:
705:
701:
670:
666:
629:
622:
615:
597:
593:
583:
581:
557:
553:
528:
524:
501:
497:
490:
474:
465:
455:
453:
445:
444:
440:
403:
394:
387:
365:
348:
337:
328:
323:
271:
266:Comparisons to
249:
244:
195:
186:
158:
149:
137:
132:
106:
93:
61:
12:
11:
5:
1036:
1026:
1025:
1020:
1015:
1010:
1005:
1000:
998:Serbian novels
995:
978:
977:
975:
974:
966:
958:
950:
942:
934:
926:
918:
909:
907:
903:
902:
900:
899:
895:Pesme, Elektra
891:
883:
874:
872:
868:
867:
865:
864:
856:
848:
840:
831:
829:
825:
824:
822:
821:
813:
805:
797:
788:
786:
782:
781:
774:
773:
766:
759:
751:
743:
742:
727:
716:(3): 439–465.
699:
664:
651:10.2307/306751
620:
613:
591:
561:"Book Review:
551:
522:
511:(2): 112–125.
495:
488:
463:
438:
392:
385:
346:
325:
324:
322:
319:
270:
264:
248:
245:
243:
240:
194:
191:
185:
182:
174:lucid dreaming
157:
154:
148:
145:
136:
133:
131:
128:
105:
102:
92:
89:
60:
57:
37:Serbo-Croatian
9:
6:
4:
3:
2:
1035:
1024:
1021:
1019:
1016:
1014:
1011:
1009:
1006:
1004:
1001:
999:
996:
994:
991:
990:
988:
973:
971:
967:
965:
963:
959:
957:
955:
951:
949:
947:
943:
941:
939:
935:
933:
931:
930:ÄŚas anatomije
927:
925:
923:
919:
917:
915:
911:
910:
908:
904:
898:
896:
892:
890:
888:
884:
882:
880:
876:
875:
873:
869:
863:
861:
857:
855:
853:
849:
847:
845:
841:
839:
837:
836:Early Sorrows
833:
832:
830:
828:Short stories
826:
820:
818:
814:
812:
810:
809:Garden, Ashes
806:
804:
802:
798:
796:
794:
790:
789:
787:
783:
779:
772:
767:
765:
760:
758:
753:
752:
749:
738:
731:
723:
719:
715:
711:
703:
695:
691:
687:
683:
680:(4): 387–94.
679:
675:
668:
660:
656:
652:
648:
645:(1): 133–34.
644:
640:
639:
634:
633:Garden, Ashes
627:
625:
616:
614:0-8112-1390-0
610:
605:
604:
603:Early Sorrows
595:
580:
579:
574:
572:
568:
564:
555:
547:
543:
540:(4): 605–21.
539:
535:
534:
526:
518:
514:
510:
506:
499:
491:
489:9780295985473
485:
481:
480:
472:
470:
468:
452:
448:
442:
434:
430:
426:
422:
418:
414:
413:
408:
407:Garden, Ashes
401:
399:
397:
388:
386:9780801448881
382:
378:
373:
372:
363:
361:
359:
357:
355:
353:
351:
342:
341:Garden, Ashes
335:
333:
331:
326:
318:
315:
314:Garden, Ashes
311:
307:
305:
304:Garden, Ashes
299:
297:
293:
292:Garden, Ashes
289:
285:
281:
280:
275:
274:Garden, Ashes
269:
263:
260:
259:Garden, Ashes
256:
254:
239:
235:
233:
232:Garden, Ashes
229:
225:
224:Garden, Ashes
220:
218:
217:Early Sorrows
214:
213:Garden, Ashes
210:
209:The Hourglass
206:
205:Garden, Ashes
202:
201:
200:Early Sorrows
190:
181:
179:
178:Garden, Ashes
175:
171:
166:
163:
153:
144:
142:
127:
125:
121:
116:
113:
111:
110:Garden, Ashes
101:
97:
88:
84:
80:
78:
74:
70:
66:
56:
54:
50:
49:Garden, Ashes
46:
42:
38:
34:
33:
32:Garden, Ashes
25:
20:
16:
969:
961:
953:
945:
937:
929:
921:
913:
894:
886:
878:
859:
851:
843:
835:
816:
808:
807:
800:
792:
736:
730:
713:
709:
702:
677:
673:
667:
642:
636:
632:
602:
594:
582:. Retrieved
576:
570:
566:
562:
554:
537:
531:
525:
508:
504:
498:
478:
454:. Retrieved
450:
441:
416:
410:
406:
370:
340:
313:
310:Fatelessness
309:
308:
303:
300:
296:Fatelessness
295:
291:
288:Fatelessness
287:
284:Imre Kertész
279:Fatelessness
277:
273:
272:
268:Fatelessness
267:
258:
257:
250:
236:
231:
223:
221:
216:
212:
208:
204:
198:
196:
187:
177:
176:. Kiš wrote
167:
159:
150:
138:
117:
114:
109:
107:
98:
94:
85:
81:
72:
62:
48:
41:Bašta, pepeo
31:
30:
29:
15:
993:1965 novels
879:Noć i magla
987:Categories
778:Danilo Kiš
419:(1): 127.
321:References
302:to how in
222:Kiš wrote
69:Yugoslavia
45:Danilo Kiš
962:Skladište
817:Hourglass
793:The Attic
584:9 January
567:The Attic
77:Auschwitz
914:Po-etika
801:Psalm 44
694:40868819
563:Psalm 44
505:Dreaming
456:23 April
433:40090596
211:(1972).
203:(1970),
124:Novi Sad
65:Novi Sad
53:Harcourt
546:4612839
59:Content
972:(1995)
964:(1995)
956:(1990)
948:(1990)
940:(1983)
932:(1978)
924:(1974)
916:(1972)
897:(1995)
889:(1992)
881:(1983)
862:(1994)
854:(1983)
846:(1976)
838:(1970)
819:(1972)
811:(1965)
803:(1962)
795:(1962)
785:Novels
692:
659:306751
657:
611:
544:
486:
431:
383:
207:, and
156:Dreams
970:Varia
690:JSTOR
655:JSTOR
542:JSTOR
429:JSTOR
377:85-93
147:Death
91:Style
609:ISBN
586:2014
484:ISBN
458:2013
381:ISBN
312:and
718:doi
682:doi
647:doi
513:doi
421:doi
122:in
67:in
989::
714:51
712:.
688:.
678:29
676:.
653:.
643:21
641:.
623:^
575:.
569:,
565:,
538:51
536:.
509:23
507:.
466:^
449:.
427:.
417:51
415:.
395:^
379:.
349:^
329:^
112:.
55:.
47:.
39::
770:e
763:t
756:v
724:.
720::
696:.
684::
661:.
649::
617:.
588:.
573:"
548:.
519:.
515::
492:.
460:.
435:.
423::
389:.
35:(
26:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
