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This book is a translation of an oral history of the concentration camp experience recorded immediately after World War II as told by men and women who endured it and lived to tell about it. Their vivid, firsthand accounts heighten the reality of this experience in ways no third-person narrative can capture. Even when they are at a loss for words, their struggle to find language to express the unspeakable is, in itself, mute testimony to the ordeal etched forever on their memories. The testimonies are arranged to reflect the chronology of camp experience (from deportation to liberation),...

It is a feat to demystify decadence genially while dealing with unsavory material usually presented complicitously. But Whissen achieves even more. He is not looking at counterculture literature but at mainstream literature in which the reader either senses something decadent in the writer's attitude or identifies some rhetorical device associated with the decadence. . . . He focuses chiefly on authors who have been studied from other perspectives (e.g., Gide, Mann, James, Dinesen) or who have hardly been studied at all (e.g., Maugham, Firbank, Capote, Suesskind, Stephen King). "Choice"...

Question: What does Salinger's "The Catcher in the Rye" (1951) have in common with Goethe's "The Sorrows of Young Werther" (1774)? Answer: Actually a great deal. They are classics of cult fiction and share many attributes. Cult fiction is a reader-created genre. A cult book can appear within any type of literary genre--for instance, romance, mystery, science fiction--but will achieve cult status only on the basis of reader response. It has qualities that speak to a reader, who may feel that it has been written for him or her alone; yet this very personal appeal is widespread, and such a...