![]() ![]() The fact that we are even conditioned into having to pick sides, both actively and retroactively, in past events, is baffling. And this is what made the reading so important and meaningful for me. ![]() ![]() American denial of race issues, Russian denial of colonial past, Jewish denial of the Palestinian genocide: it’s all complex ambiguities that are cancelled out by the political correctness. What she writes about her cultural upbringing is fascinating, and akin to the many cultures of denial that I witness. Yes, inherited trauma, all that, but it seems like a reductive way to build one’s narrative.īut I also understand where Krug is coming from. I feel the same way about children and grandchildren of Holocaust survivors, by the way. ![]() It seems overindulgent to me to put oneself at the forefront of a particular historical event, especially if you had nothing to do with it, and are just trying to make sense of your long-dead grandparents. That said, I am normally peeved when I encounter narratives of identity, especially when they come from positions of privilege. I was a little jealous-how can Nora Krug be simultaneously so good at both illustration and writing?-but also extremely inspired to experiment with the visuals in my own writing. This is one of the most visually beautiful books that I’ve ever read, which at the same time treats the reader to some really great creative nonfiction. ![]()
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