Bruno Schulz: An Artist, a Murder, and the Hijacking of History

21,000+ Reviews has the highest-rated customer service of any bookstore in the world
Product Details
$30.00  $27.90
W. W. Norton & Company
Publish Date
6.31 X 9.27 X 1.09 inches | 1.31 pounds

Earn by promoting books

Earn money by sharing your favorite books through our Affiliate program.

Become an affiliate
About the Author
Benjamin Balint is the author of Bruno Schulz and Kafka's Last Trial, awarded the 2020 Sami Rohr Prize for Jewish Literature, and is coauthor of Jerusalem: City of the Book. A library fellow at the Van Leer Institute in Jerusalem, he regularly writes on culture for The Wall Street Journal, the Jewish Review of Books, and other publications.
Balint reflects on the meaning of the controversy over who owns Schulz's murals--a debate about the location of Jewish memory and the question of its legitimate home-land. 'How does Schulz's orphaned art, ' he asks, 'figure in the politics of erasure?' It is a poignant, cosmic question with no easy answers.--Donald Weber "Jewish Book Council"
What a wonderfully empathetic biography Balint has written, so vividly does he bring Schulz back to life, both as a writer and an artist of prodigious, otherworldly talents.--Tobias Grey "Airmail"
Schulz's destiny is terrifying and exemplary, and Balint retells his life in captivating fashion.--David Mikics "Tablet"
An important new account that sheds light on many previously unknown aspects of Schulz's life and posthumous existence.... A welcome addition to our fund of information about a remarkable European master.--Ewa Hryniewicz-Yarbrough "American Scholar"
Spellbinding.... Balint's dogged research and lucid analyses shed light on the interplay between Schulz's psychology and his art. It's a fascinating portrait of the artist in extremis.--Publishers Weekly, starred review
Balint vividly, insightfully, and affectingly casts light on long-shadowed Schulz and his startlingly original work, composing a freshly enlightening, harrowing, and invaluable chapter in the perpetual history of genocide and the courage and transcendence of artists.--Booklist, starred review
Engaging and provocative.... This biography, which weaves well-chosen, colourful threads from Schulz's writings into the threadbare fabric of his days, stands as the best brief introduction to the author currently available in English.--Boris Dralyuk "Times Literary Supplement [UK]"
A well-informed consideration of the life and legacy of the Polish Jewish writer and artist who died during World War II.... In this incisive portrait, Balint also delves into the enormous influence of Schulz on Philip Roth, Cynthia Ozick, and Jonathan Safran Foer, among many others writers. A poignant, passionate revisiting of an important literary and artistic voice.-- "Kirkus Reviews"
Balint tells this story--which turns out to be multiple stories, obscured by the fog of war and rumor's sfumato--and virtuosically relates them to Schulz's own tales, while providing the clearest, most evenhanded account to date of the tangled afterlife of the Master of Drohobych.... [Balint is] an unflaggingly curious and fastidious critic.... and demonstrates with sensitivity how in the clash between so-called intellectual property rights and so-called moral rights, the only sure loser is the artist himself, especially if he is no longer around to defend (or define) himself.--Joshua Cohen "New York Times Book Review"
A perfect sequel to Balint's previous book, the award-winning Kafka's Last Trial.--Adam Kirsch "New Republic"
[Schulz's] reach, eventually, was global. The cult of Schulz, counting literary household names like Philip Roth, Jonathan Safran Foer, and Isaac Bashevis Singer (who, Balint gossips, liked Schulz better even than Kafka), proves it.... Schulz gets compared to Kafka because of his dreamy, disconcerting stories, but in Balint's book, a version of Schulz emerges that is closer to one of Kafka's characters.--Leo Lasdun "The Millions"
Excellent.... An absorbing, terrifying history of a special writer who deserves to be known for reasons entirely apart from the historical nightmare that engulfed him.--Scott Bradfield "The Spectator [UK]"