a comparison with how East and West Germany gradually initiated the Vergangenheitsaufarbeitung regarding the Third Reich and its genocide against many ethnicities and groups in Europe, the Jewish people first among them. Evil has been a lasting concern for Neiman; in Evil in Modern Thought (2002), she reinstated the philosophical question of evil to primacy of status. Monuments, Neiman suggests, obscure the contingency of history: once put up, they appear to have been around forever. For this reason, Germany holds a deceptively iconic status for its historical sensitivity and honesty, and Neiman severely criticizes West Germany in particular for decades of denying the reality of its situation. Monuments also serve as an assertion of power and morality. The profound problem Neiman addresses, then, is the psychological difficulty of reconciling defeat with guilt— particularly through the nebulous experience of living under occupation. While for a white southerner the removal of Confederate statues might imply a Lost Cause narrative of northern aggression, for a black southerner their persistence can suggest that men who “fought for the right to own other human beings” are honored—yet Neiman makes clear that in this case only the black experience is universal. In this, Neiman takes on the difficult aesthetics and curation of historical representation. A German who hails from a Nazi family can redeem herself to an extent, for instance by writing a candid book—as a white southerner could about their family ’s involvement in lynchings—but only at the expense of the name and reputation of those family members who did not write such a book. As often as Neiman’s interviewees speak eloquently on behalf of the persecuted, they are shining examples of historical awareness on the side of the perpetrators. The worry that this could give rise to is that Neiman risks the conditions of discernment around historical culpability and redemption on the very experiences that open these up for her: does historical awareness make women pretty and charming, men handsome and tall, and even their houses tasteful—as they are presented here? Is confession adequate to the exemption or redemption of collective responsibility? Neiman, however, turns this aesthetic pitfall to her own advantage by laying bare her own prejudices and learning from them, as when she witnesses a group of high school students reenact the trial against Emmett Till’s murderers. Not up to Neiman’s standards, at first, until she grasps that the refinement of the performance is not the issue. Ultimately, Neiman thinks in strategic, not therapeutic, terms. The voices from which Neiman learns the most recommend making reparations and smashing fascism —the interview with James Meredith is a standout moment. This means that there may not be a cure for fascism, but the defense of society obligates us to question the history and morality of our cities, universities , museums, and monuments. Arthur Willemse University of Maastricht Emiliano Monge Among the Lost Trans. Frank Wynne. Melbourne. Scribe. 2019. 345 pages. In a note at the beginning of Among the Lost, Emiliano Monge thanks the human rights organizations that provided him with inspiration . Throughout the novel, the Mexican writer quotes from the real-life testimony of Central American migrants who encountered numerous hardships on their northward journeys. We learn about the cruelty they’ve endured and their fears that they Books in Review Ladan Osman Exiles of Eden Minneapolis. Coffee House Press. 2019. 77 pages. Who is allowed to call themself an American? When a crowd of thousands of white faces shout for an approving President Trump to “Send her back!” in reference to Representative Ilhan Omar, a black Muslim woman, a former refugee , an American, it is a racist threat that lays bare the critical question of our current moment. As Representative Omar defends herself on the political stage, another Somali American, poet Ladan Osman, uses her new poetry collection, Exiles of Eden, to conduct an emotional autopsy of the loss of home and the destructive force of America’s racism. In poems that move easily from the formal to experimental, Osman’s bold new work journeys through worlds that shift unpredictably from intimacy into violence, worlds forever lost to her and, finally, to the world the poet...
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