In 1949, Lloyd Wilkinson Petrie has returned as a trustee to live in the long-defunct boarding school that he had attended as a child. There he is preparing a memoir. He writes, with faltering recall, of the subtle anti-Semitism that pervaded the school's ethos and of his fascination with the Egyptian archaeological adventures of his distant cousin, Sir William Matthew Flinders Petrie. Memories return, too, of the passions of a boyhood friendship with named Ben-Zion Elefantin, a mystifying older pupil who claims descent from Egypt's Elephantine Island.
At once fiercely immediate and complex in their implications, “The Shawl” and “Rosa” succeed in imagining the unimaginable: the horror of the Holocaust and the emptiness of its aftermath. They were written in 1977 but were first published in the early 1980s in The New Yorker. Both “The Shawl” and “Rosa” won first prize in the O. Henry Prize Stories and were chosen for Best American Short Stories.
In 2008, Cynthia Ozick published a new collection of stories, Dictation, and won both the PEN/Malumud Award and PEN/Nabokov Award for lifetime achievement. This program is one of a series of afternoon talks, hosted by Roger Rosenblatt, which features intimate discussions with writers about their work, their passions and the books on their night tables.
Pulitzer Prize finalist Cynthia Ozick’s fiction has been awarded multiple O. Henry Prizes. In Foreign Bodies, Ozick crafts a remarkable retelling of Henry James’ The Ambassadors—deftly using its plot, yet boldly infusing the novel with an all new place, time, and meaning. It’s 1952, and middle-aged Bea Nightingale reluctantly agrees to fly to Paris to help convince her estranged runaway nephew to return to his family. But Bea’s experiences abroad will change her forever.
Apparso per la prima volta nel 1997 sulle pagine del "New Yorker", questo impetuoso, lucidissimo saggio di Cynthia Ozick strappa il velo di dissimulazione e retorica che negli anni ha ovattato e mistificato la limpida voce di Anne Frank e del suo Diario. Troppo spesso e troppo a lungo oggetto di interpretazioni semplificate e fuorvianti, di appropriazioni indebite, tradimenti e comode "santificazioni", il Diario è servito da lasciapassare per un'amnesia collettiva - storica e culturale - sulle cause e le circostanze della morte della sua autrice e di milioni di altre vittime dell'Olocausto.