By Aleksandr (translated By Vladimir Nabokov) Pushkin
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Extra resources for Eugene Onegin: A Novel in Verse [Translated, with a commentary, by Vladimir Nabokov]
Victims and bystanders came to be the subject of books or even wrote their own. Some of the paradigms in operation, such as “victim fiction,” are borrowed from those devised to work through the memory of Nazism. 30 The 1990s and 2000s witnessed a wave of novels about the Nazi past, which explore the individual involvement of family members in the Third Reich (dubbed the “new German family novel”). The central characters in several recent Baader-Meinhof novels also have personal connections with the terrorist past, which they learn about in the course of the action.
Above all, mothers have to go back to being mothers. To make the emotional connections tangible in fiction, atypical family links are needed. The difference between the RAF and both Nazism and the Wende is that the latter were both experienced by everyone alive at the time. All Germans had memories of World War II, and the life of every introduction / 11 East German was turned upside down in 1989–1990. In contrast, only a tiny proportion of the population was even indirectly connected to any of the terrorist groupings, to their victims, or to the police who pursued them.
65 Jörg represents something that Karin and the other university friends could have become. Through him they are connected to high politics. He is also connected through them with the church, business, the professions, and the media. By dipping back into their pasts, however, the friends emerge stronger, finally ready to take their lives in new directions. The Weekend underwhelmed German reviewers in 2008. They saw it as opportunistic and adding little to the media debate about releasing unrepentant middle-aged terrorists.