Fractured Biographies

A physical chemist (Fritz Haber), a photographer (Josef Breitenbach), a cabaret artist (Georg Kreisler), two writers (Otto Alscher and Albin Stuebs), a pioneering scholar in Irish-German studies (John Hennig) and a Celtic philologist (Julius Pokorny) are the focus of this volume. What they have in common is a biography fractured by the Nazis’ rise to power in 1933. Six were forced into exile; the life of the seventh, the Romanian-German writer Otto Alscher, shows that even the biography of a Nazi sympathiser could be dislocated by the years of dictatorship. As the previously unpublished letters which are reproduced here show, Fritz Haber, a Nobel prize winner, spent ‘his last lonely months’ seeking a dignified way to leave the country to which he had once felt the deepest attachment. Although a prominent member of Germany’s academic élite, Julius Pokorny had to retire because of his Jewish ancestry in December 1935 and yet was allowed to continue publishing on ethnic themes until his exile in 1943. Albin Stuebs was forced to seek refuge in Prague and later England when his left-wing political convictions made him a certain target for the Nazis. Because of his marriage into a liberal Jewish family, John Hennig had to renounce all hope of an academic career in Nazi Germany and, after his exile to Ireland, struggled in straitened circumstances to support his family while at the same time developing into an unusually prolific scholar. Proof that exile may stimulate creative energy is provided by Josef Breitenbach, whose remarkable biography appears to show that loss and uprootedness may release otherwise undeveloped creative potential. Similarly, the flight of Georg Kreisler from Vienna in 1938 was the start of ‘a remarkable voyage of discovery’ which saw him grow into a major, if consistently undervalued figure in the world of post-war German cabaret.

A collision with a moose on a dark highway left Susan Mockler with an incomplete spinal injury, suddenly compromising her ability to walk and to care for herself. She spent months in a rehabilitation facility learning how to adjust to her new reality, and though her body partially recovered, every aspect of her life changed. Fractured is a compelling illumination of the challenges of acquired disability and the ways in which people with disabilities are sidelined and infantilised. Mockler, a psychotherapist, speaks with frank honesty about her family and friends’ reactions to her injury, and the hard-won lessons that she and those around her learned from her experience.

Abandoned by her parents as a three-year-old, and ultimately leaving her home country India for a new life in America as a young mother of a three-year-old son, this is not only an immigrant's story, but a poignant and powerful memoir that is at first, one of sadness and continuing adversity, but ultimately one of strength, purpose, and the universal triumph of hope. It is a story of dislocation, disruption, and despair, and brings focus to the silencing of girlhood and womanhood and how with time, love, and support we can work our way out of that silence. Shabnam Samuel was twenty-seven when she moved to the US, carrying with her a troubled marriage, an almost estranged husband, and a three-year-old son. Hoping to create a fresh start from everything that was holding her down, it took Shabnam twenty-five years of trials and tribulations to finally find her voice, her strength, and her place in this world.

“Staging Memory and Materiality in Eighteenth-Century Theatrical Biography” examines theatrical biography as a nascent genre in eighteenth-century England. This study specifically focuses on Thomas Davies’ 1780 memoir of David Garrick as the first moment of mastery in the genre’s history, the three-way war for the right to tell Charles Macklin’s story at the turn of the century and James Boaden’s theatrical biography spree in the 1820s and 1830s, including the lives of John Philip Kemble, Sarah Siddons, Dorothy Jordan and Elizabeth Inchbald. This project investigates the extent to which biographers envisioned themselves as artists, inheriting the anxiety of impermanence and correlating fear of competition that plagued their thespian subjects. It traces a suggestive, but not determinative, outline of generic development, noting the shifting generic features that emerge in context of a given work’s predecessors. Drawing heavily on primary sources, then-contemporary reviews and archival material in the form of extra-illustrated or “scrapbooked” editions of the biographies, this text is invested in the ways that the increasing emphasis on materiality was designed to consolidate, but often challenged, the biographer’s authority. This turn to materiality also authorized readerly participation, allowing readers to “co-author” biographies through the use of material insertions, asserting their own presence in the texts about beloved thespians.

Fractured Lives is a memoir of one womans experiences as a documentary filmmaker covering the wars in southern Africa during the 1980s and 1990s. Part autobiography, part history, part social commentary and part war story, it offers a female perspective on a traditionally male subject. Growing up in South Africa in a politically active family, Toni went to Britain as an exile in 1965 in the wake of the famous Rivonia Trial, and in the years to follow, became a filmmaker. Despite constant difficulties fighting for funding and commissions from television broadcasters, and the prejudices of working in a male-dominated industry, Toni made several remarkable films in Mozambique and Angola. These bear witness to the silent victims of war, particularly the women and children. Fractured Lives paints the changing landscape of southern Africa: Namibian independence and the end of the war in Mozambique bring hope but also despondency. Yet there is also the possibility of redemption, of building new lives for the victims of war. In its final chapters, Fractured Lives traces the power of survival and the opportunities for new beginnings. Fractured Lives concludes with Tonis return to South Africa after nearly three decades in exile. However, the joy following the demise of apartheid is tempered by the poignancy of returning to a place that for so long had existed in her dreams alone and the realization that home will forever lie somewhere else.

The volume satisfies the researcher with an interest in exile as an historical and literary phenomenon. The first eight essays focus on the British and Irish dimension. The following four widen the discussion to encompass continental Europe. And finally, the historical dimension is deepened with contributions the marginalisation of the mass emigration of the Jews within German memory, and the ‘exile’ of princesses.