Powerful and provocative, haunting and disturbing, lyrical yet profoundly unsettling, The Kommandant's Mistress portray
About The Kommandant's Mistress
Powerful and provocative, haunting and disturbing, lyrical yet profoundly unsettling, The Kommandant's Mistress portrays the complex power struggle between the Kommandant of a Nazi Concentration Camp and the Jewish inmate he forces to become his "mistress".
In this mesmerizing depiction of sexual subjugation, in which the conventional labels of "torturer" and "victim" obscure the unexpected realities of those positions, a young woman must survive the horrors of her daily servitude inside the Kommandant's office while struggling with the moral obligation to aid others in the Camp. Aware of virtually every secret of the Kommandant's professional and personal life, the woman bears witness to the grotesque reality of the camp even as she memorizes the intimate details of a man fighting his own tortured existence.
After the war, their "relationship" in the Camp proves inescapable, as the past they share pursues them both, culminating in an encounter that is as shocking and disturbing as it is inevitable.
Winner of the University of Rochester's Kafka Award
1994 for "best book of prose fiction by an American woman", and chosen as one of The New York Times Book Review
's "Top 100 Books of 1993".
About the writing style of The Kommandant's Mistress
The writing style of Szeman's novels is highly unusual, moving as it does from past to present to a further-back-past and to present again, seemingly without warning. It imitates how the mind works, especially with respect to memory, where everything always appears to be happening in the present; and where thoughts, sounds, smells, feelings, and words lead to memories which then lead to other thoughts, feelings, etc. and to other memories associatively.
Sometimes the switch between scenes in The Kommandant's Mistress
is triggered by words in the narrator's memory; at other times, the switch is triggered symbolically by something in the previous scene(s).
For dialogue tags, only "s/he said" is used, even for questions (as William Faulkner does in his books & stories) so that the reader can interpret for himself how the character is saying the lines.
These are brand new copies of the 2nd edition (published by Arcade, 2000), Trade Paper, which includes the translation of Verdi's Opera La Traviata
from the author's own collection, still in unopened box in which they were sent to author.
Giveaway copies will be signed, but not personalized (if winners want to gift them).
Excerpt of Novel (chapter 1) available at http://www.rockwaypress.com/K_Excerpt...