By Miranda Richmond Mouillot
A tender lady strikes throughout an ocean to discover the reality approximately her grandparents' mysterious estrangement and items jointly the extreme tale in their wartime experiences
In 1948, after surviving international conflict II by way of escaping Nazi-occupied France for refugee camps in Switzerland, the author's grandparents, Anna and Armand, obtained an outdated stone apartment in a distant, picturesque village within the South of France. 5 years later, Anna packed her baggage and walked out on Armand, taking the typewriter and their childrens. other than one short stumble upon, the 2 by no means observed or spoke to one another back, by no means remarried, and not published what had divided them forever.
A Fifty-Year Silence is the deeply concerning account of Miranda Richmond Mouillot's trip to determine what occurred among her grandmother, a doctor, and her grandfather, an interpreter on the Nuremberg Trials, who refused to utter his wife's identify aloud after she left him. to find the roots in their embittered and entrenched silence, Miranda abandons her plans for the long run and strikes to their stone residence, now a crumbling smash; immerses herself in letters, archival fabrics, and secondary resources; and teases tales out of her reticent, and declining, grandparents. As she reconstructs how Anna and Armand braved overwhelming odds and the way the data her grandfather got at Nuremberg destroyed their courting, Miranda wrestles with the legacy of trauma, the weight of background, and the complexities of reminiscence. She additionally unearths herself studying how not just to outlive yet to thrive – creating a domestic within the village and falling in love.
With heat, humor, and wealthy, evocative information that carry her grandparents' outsize characters and their day-by-day struggles vividly to existence, A Fifty-Year Silence is a heartbreaking, uplifting love tale spanning continents and 3 generations.
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Extra info for A Fifty-Year Silence: Love, War, and a Ruined House in France
From the moment when there was a piano score of Tristan -my compliments, Herr von BLilow-I was a v\'agnerian8a . . " To this day I am still looking for a work of equally dangerous fascination, of an equally gruesome [schnuerlich] and sweet infinity as Tristan-and look in all the arts in vain. All the strangenesses of Leonardo da Vinci emerge from their spell at the first note of Tristnn. This work is emphatically Wagner's non plus ultra ... The world is poor for anyone who has never been sick enough for this "voluptuousness of hell"; it is per- From the posthumously published notes which Nietzsche penned while working on his "untimely" essay on \Vagner, one can trace a direct development to the section on artists in his next work, Human, All- TooHuman.
P. A. Schilpp, reprinted in my From Shakespeare to Existentialism. 23 Jaspers, op. " What he means will be considered in Chap. 2 . Prologue ~ 17 There is no need here for tracing the growth of the legend further. We shall later have occasion to consider the Nazis' use of Nietzsche. For the present we may conclude that his alleged ambiguity as well as his supposed affinity with Nazism-indeed, that the whole legend--depends on the failure to ask: What did Nietzsche oppose? What did he seek to overcome?
Introd. to Griechische Kulturgeschichte, ed. ) 3 VIIl-XI Nietzsche's Life as Background of His Thought ~ 29 broken with Wagner, whom Burckhardt had always disliked, Nietzsche still revered the old professor and paid his respects to him in his last works. 6 The older man's reaction seems typical: sympathetic and yet without relinquishing his customary reserve, he took the letter to Nietzsche's friend Franz Overbeck, stating that he believed it was something of concern to Overbeck. Overbeck (1837-1905) was nearer Nietzsche's own age, though still seven years his senior, and he was closer to Nietzsche than anybody else in Basel.