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Mildred J. Berryman
No full textBlack and white photograph of Mildred J. Berryman printed in The Mineralogist, July 194
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Garnet in Rhyolite Specimen Label from the Berryman Menage
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Advertisement and Digital Business Card for the Mildred Berryman Institute
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Colorized photograph of Mildred J. Berryman in her late twenty\u27s early thirty\u27s
No full textColor photograph colorized photo of Mildred J. Berryman in dark riding jacket and scar
Page 1 of "The Psychological Phenomena of the Homosexual" By Mildred Berryman
No full textText document first page of "The Psychological Phenomena of the Homosexual" Mildred J. Berryman\u27s Thesi
Colorized photograph of Mildred J. Berryman as a late teen early twenty\u27s
No full textColor photograph colorized photo of Mildred J. Berryman in a military or marching band style jacket With Asymmetric double breasted front and Short Standing Colla
The Holocaust Poetry of John Berryman, Sylvia Plath and W.D. Snodgrass
No full textJohn Berryman, Sylvia Plath and W. D. Snodgrass are each commonly associated with the poetic movement known as ‘confessionalism’ which emerged in the USA in the late 1950s and early 1960s. They did not, however, write works of undiluted autobiography; through close readings of their Holocaust verse, I take the poetry, rather than the lives of the poets, to be the ultimate authority on what they had to say about history, about the ethics of representing historical atrocity in art, and about the ‘existential’ questions that the Nazi genocide raises.
Chapter 1 offers the first sustained analysis of Berryman’s unfinished collection of Holocaust poems, The Black Book (1948 - 1958) - one of the earliest engagements by an American writer with this particular historical subject. In my second chapter I look at some of Plath’s fictionalised dramatic monologues, which, I argue, offer self-reflexive meditations on representational poetics, the commercialisation of the Holocaust, and the ways in which the event reshapes our understanding of individual identity and culture. My third chapter focuses on W. D. Snodgrass’s The Fuehrer Bunker (1995) - a formally inventive cycle of dramatic monologues spoken by leading Nazi ministers, which can be read as an heuristic text whose ultimate objective is the moral instruction of its readers.
Finally, I suggest that while all three poets offer distinct responses to the Holocaust, they each consider how non-victims approach the genocide through acts of identification. For Snodgrass, it is important that we do identify with the perpetrators, who were not all that different from ourselves; for Berryman and Plath, however, the difficulty of identifying with the victims marks out the limits of historical understanding
presentation on Mildred J. Berryman
No full textPower point presentation on Mildred J. Berryman and the Mildred Berryman InstituteConverted from .pptx to .pdf for compatibilit
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