91O Reviews arranger, and conferencier, do stand out as remarkable forwhat theyachieved under tryingcircumstances; others such as Gertrude Bodenwieser, the founder of a ballet school inAustralia, were equally remarkable. But there are no international figures or outstanding dramatists inLang's account. Some of theperformers did manage to make careers inAustralian theatre, film,and TV, and some of the exiles' enthusiasm for theatre almost certainly did transfer to awider sphere, but cabaret programmes and Bunte Abende tend to be for themoment, and small-scale community and mi nority theatre cannot compete with real world-class professional theatre. The real significance of such theatrewas what itmeant for the identity of theGermans and Austrians living inAustralia. It is doubtful, therefore,how farone can agree with Lang's finalclaim: thatwithout thisGerman-language theatrical activity theSydney Opera House might never have been built. INSTITUTE OF GERMANIC AND ROMANCE STUDIES J.M. RITCHIE Words fromAbroad: Trauma and Displacement in Postwar German JewishWriters. By KATJAGARLOFF. (Kritik: German Literary Theory and Cultural Studies) Detroit: Wayne State University Press. 2005. xii+ 252 pp. $49.95. ISBN 978 o-8 I43-3245-0. Katja Garloff's book offersa rich and persuasive study of theworks ofGerman Jew ishwriters of the survivor generation in the context of diaspora theories,which have frequently ignored or elided a consideration of Jewish cultural paradigms. Look ingparadigmatically at authors received inpost-war West Germany, including Peter Weiss, Gunther Anders, Nelly Sachs, and Paul Celan, Garloff tests the applicability of recent diaspora theories to thepredicament of post-Shoah Jewish culture, arguing that diaspora constitutes itselfat the juncture of creativity and critical intervention. She makes her case through a critical consideration of diaspora theorists, including Homi K. Bhabha, Stuart Hall, and Paul Gilroy, who have made important contri butions to current understandings of diaspora while only partially reflectingon the Jewish diaspora before the Shoah or ignoring italtogether. Against the positive con struction of dislocation as the site of incursion intohegemonic cultural discourses by Bhabha, Rosi Braidotti, and others, Garloff brings together the theoretical strands of diaspora, trauma, and testimony studies to show how the study of post-war German Jewishwriters instead highlights the intersecting traumatic and creative aspects of displacement. Garloff sets out with explorations of Theodor W. Adorno, whose I959 essay title 'Words fromAbroad' she borrows forher own book, as well as ofGulnther Anders and JeanAmery, todemonstrate theperceived or real dissonance of emigrants' voices from contemporaneous German debates on Germany's past and present. She goes on tomap inmore detail PeterWeiss's production of a tension between self-chosen and catastrophic dislocation inhis visions of cosmopolitanism. The next substantial chapter is dedicated toNelly Sachs's construction of the Jewish diaspora in rela tion to her references toZion. Garloff takes issue with the predominant reading of these passages as indications of Sachs's Zionist beliefs, and instead develops an in terpretation of Sachs's conception of Zion as ametahistorical sign ofmemory and cross-cultural encounter between Jews and non-Jews beyond geographical confines. From hereGarloff proceeds to the most complex and stimulating chapter ofher book, inwhich she discusses Paul Celan's ceuvre. She reads his I963 volume Die Niemands roseas attempting toundermine theboundaries of text, time, and geographical space in order to commemorate the destroyed Eastern European Jewish diaspora while creating, through itshistorical encryptions, a transitory alliance of readers. MLR, I02.3, 2007 91I At times, the breadth of approaches forming the theoretical core threatens to ob scure theclarity of theargument, aswhen Garloff moves from trauma theory's notion of testimony as a reconstitution of collectivity to the conception of the communal aspects of diaspora in theworks of Daniel and Jonathan Boyarin-a broad sweep both risking the generalization of concepts of community and neglecting to account for theworkings of art as distinct from other forms of enunciation. Moreover, the author herself leans towards an over-positive reading of diaspora in privileging it as the site of critical intervention into homogenizing constructions of cultural and personal origins. One wonders ifthese findingswould have taken on a different twist had textsbyGerman Jewishwriters received in theGDR also been considered, as the undifferentiated 'German' of thebook's title indeed seems topromise. On thewhole, however, Garloff's book succeeds in linking the often...