Primo Levi Books

Like other reviewers, I sometimes found the science in this book a bit hard to follow. But that was made up for by the general loveliness of Levi's dry wit. My favorite examples-

- "a livered [solidified] paint is much more rebellious, more refractory to your will than a lion in its mad pounce; but, let's admit it, it's also less dangerous."

- "Gina then made a cruel decision: if she couldn't bind herself to the man she cared for, the only one, there would not be any other . . . she forbade herself marriage forever in a refined and merciless manner, that is, by getting married."

-"It was clear that Bonino's story would be far from brief; but I remembered how many long stories I myself had inflicted on people, on those who wanted to listen and those who didn't. I remembered that it is written [Deuteronomy 10:19] 'Love ye therefore the stranger; for ye were strangers in the land of Egypt.' and I settled back comfortably in my chair."

- [before the start of the book] "Troubles overcome are good to tell."

This is not a Holocaust memoir like some of Levi's other works; it is a group of [mostly autobiographical] little essays, almost all about Levi's pre- and post-Holocaust life, by a great writer who just happened to have been in Auschwitz.

Entertaining, sad, and insightful. What a loss to the world. "Carbon" chapter is fascinating. Began second reading immediately following the first.

It's an emblematic title for a book designed whit tales that confection a whole history. The book is a metaphor of the periodic table: elements conform substance so words conform ideas.

Primo Levi is a mentor; he begins a melancholic tale, connecting us with characters and at less expected time we receive a little lesson about chemistry, -it's a good way to spread science, didn't it?- but that's not enough for him so we also get his testimony about how he suffered WWII.

Primo's statement is hard: "... I felt guilty at being man, because man had built Auschwitz..." at last it's not clear if he got peace at his mind; but, I must recognize he is honest, because somewhere in the book he says that Primo Levi writes for Primo Levi.

In conclusion, it's a gentle book wrote to present a testimony of a man who was born Jewish in Italy, studied chemistry and suffered the war.

I didn't know what to expect when picking up this book. I'd recently finished the not unrelated Garden of the Finzi-Continis and thought I might find some variant on this. Yes, both books consider Jewish-Italian culture in the years surrounding WWII, with the specter of the holocaust in the background (mainly). But they are quite different. F.C. has at its roots the humanities, and P.T., the sciences. And what I most enjoyed about P.T. was the chemistry. It's a rarity in literature to find a subtle appreciation for the career of the scientist, and Levi succeeds admirably. This book would be an outstanding choice for any science and engineering student to read just to see how one can ply a trade, be it in the laboratory, the mine, or the consulting business. Bravo, Dr. Levi.

In this collection of stories, Primo Levi lets go of the Holocaust theme, and tells the story of his life through the prism of his profession as a chemist. As others have said, each chapter is headed up by a different element, and through the properties of that element he explores a theme. There are two chapters--"Lead" and "Mercury"--which are completely fanciful. "Lead" is about a mythical tribe that makes its living mining lead. Not knowing that the metal is deadly, they all ultimately die of a mysterious disease, but they accept it as their fate, the price they pay for fulfilling a special role among men. "Mercury" is about a couple living on a desert island, which holds inexhaustible reserves of mercury, and what happens when two newcomers, one an alchemist, joins them. Both stories are riveting.

I have to admit that I, as well as my very literate book group, lost a lot by having forgotten most if not all of our knowledge of chemistry--not that we had much to begin with. Some familiarity with the science I'm sure reveals a whole new level to the writing.

Some reviewers criticized the lack of insight about the author's time in Auschwitz, but I see that as one of the amazing aspects of this book. For good reason, so many Holocaust survivors are irreversibly marked and changed forever by their experiences. That Levi can write a rich and compelling book that gives weight and significance to the other parts of his life is evidence of an amazingly strong and resilient spirit.

After Dachau was liberated, Army intelligence interviewed a woman at the camp who claimed to have been Rudolf Hoess' mistress while at Auschwitz. What details they could check were confirmed, and her interview became part of a Seventh Army report issued a few weeks later, a report that has been republished as Dachau Liberated: The Official Report (ISBN: 1587420031). For those who want to understand the infamous Hoess, that interview of "E.H." provides a much-needed check on his obviously self-serving autobiography. Here's a short passage from her interview:

"According to my recollection, on December 16, 1942, about 11 p.m. I was already asleep, suddenly the C.O. appeared before me. I hadn't heard the opening of my cell and was such frightened. It was dark in the cell. I believed at first it was an SS man or a prisoner and said, "What is this tomfoolery, I forbid you." Then I heard "Pst," and a pocket lamp was lighted and lit the face of the C.O. I broke out "Herr Kommandant."

Hoess didn't mention this clandestine affair in his autobiography, but details she gave fit with his account and with conditions at Auschwitz.

There is another autobiography of Hoess titled "Commandant of Auschwitz: The Autobiography of Rudolf Hoess". I would be interested in reading that account but am curious how that could differ from "Death Dealer". Given the circumstances the man at the end of his life did not have a whole lot of time to write different autobiographies. My guess is the two books are essentially the same.

As for Death Dealer itself it is not often one reads an account of the concentration camps from the "other side". I had read other summaries that portrayed Hoess as a mid-level cold-hearted bureaucrat whose account of his SS career was pretty much emotionless and he treated his activities in the same manner an accountant or a department store manager or a mechanic or (pick a career) would describe their career. I thought before reading the book that whatever one may say about him he would at least not grovel for forgiveness and would defiantly flip his middle finger at the world before climbing the steps of the gallows. After all, when he wrote his memoirs in 1946 and 1947, there was little suspense over what his fate would be. So sugar coating his past was not going to change his future.

Although there may have been some shred of decency in the man one could not escape the feeling that he recognized himself as a war criminal only because his captors called him a war criminal. In other words his "mea culpa" would probably not score high on the sincerity scale. The victorious Allies were the new authorities over his life and if they considered him guilty and a war criminal then he was guilty and a war criminal. Whether he personally thought so or not was not relevant. And that was pretty much how he conducted his life. Whoever his authority was pretty much controlled his life. He was the commandant of the most notorious of all Nazi death camps because his superiors made him the commandant. He killed because he was told to kill -- just as he was to die because he was told he had to die.

He admitted the horrible conditions of Auschwitz -- and other camps. It was not Hoess' fault. His superiors -- starting with Hitler and Himmler -- put impossible demands on him and did not provide adequate resources. The conditions were horrible and only got worse as the war progressed due to the lack of resources due to the stranglehold the Allies put on Germany. It was not Hoess' fault. The inadequate resources included inadequate officers, staff, and guards who committed many atrocities for which he had little or no control. It was not Hoess' fault. The inadequate resources included inadequate building material, latrines, barrack space, food, water, sanitation system, and medical supplies. It was not Hoess' fault. The concentration camp administration reflected the ideals of Thomas Eicke, the founder of the concentration camp system. It was not Hoess' fault.

Although the man blamed others for the nightmarish hell of Auschwitz and other concentration camps he accepted responsibility because it was engrained into him that the commandant is responsible for all activities within the concentration camp.

This may be as close as one may come to reading an account of the "other side". Although one's opinion of the Holocaust may not be altered by Rudolf Hoess he does share insight that one normally does not see about this dark chapter of the history of humanity. Most people know what it is like to be over tasked and under resourced. But most people do not know what it is like to be over tasked and under resourced in his particular career field.

I give this book five stars because of its historical value. This work not only gives insight into the mind of the leader of perhaps the greatest death factory ever built, but also allows a clearing-up of some errors that have accreted in the decades since that horrible time.

Hoess rejected God and the Church (p. 52-53, 57, 59, 72, 192), having rebelled against his father's wish that he become a priest. Like Himmler, he became an Artaman (pp. 202-203; a communal movement resembling the 1960's US communes, albeit Teutonic-centered) before switching to Nazism for his substitute religion.

Hoess wrote: "Until the beginning of 1942 the main body of prisoners was Polish." (p. 128). Many Poles were murdered secretly (the cause of death listed as natural), "...because of political and security reasons..." (p. 224).

During the Auschwitz Carmelite convent controversy, attempts were made to belittle the victimhood of Auschwitz Poles through the premise that they, unlike most Jews, were not generally killed upon arrival at Auschwitz. Hoess, in contrast, rejected any such dichotomy (if anything, praising the slow-death genocidal methods--as perfected by the Communists): "The Gestapo delivered the prisoners to the camps to be exterminated. It made no difference to them whether it happened by firing squad, gas, or by the horrible conditions in the camps. It was part of their plan not to improve conditions in the camps...Thus, the concentration camps were changed deliberately, and sometimes unintentionally, into large-scale extermination centers. The Kommandants received extensive composite reports from the Gestapo about the Soviet concentration camps. Escaped prisoners had made reports about the conditions and organization of these camps down to the smallest detail. They emphasized that by using forced labor methods the Soviets were annihilating entire nationalities." (pp. 168-169).

Holocaust-uniqueness advocates sometimes claim that the genocide of the Polish intelligentsia, unlike that of Jews, served a rational purpose--the elimination of resistance. Actually, the latter was, at most, a hoped-for byproduct of this nation-destroying act: "I want to add this, that the general opinion at SS headquarters was that the total annihilation of the Polish intelligentsia would also destroy the resistance movement. [SS Major] Thomsen was an ardent defender of this theory." (p. 322).

Initial plans to kill all Jews gave way to the sparing of some of them for forced labor (p. 34).

Hoess discussed the Jewish Sonderkommando in considerable detail. Those Jews temporarily got to save their lives by dutifully assisting in the deception, gassing, despoiling, and cremation of their fellow Jews. He also observed Jew-against-Jew behavior by some Jews who had no hope of postponing their own deaths. As they entered the gas chambers, they told Germans the addresses of fugitive Jews back home. Hoess commented: "I cannot explain what motivated them to reveal this information. Was it personal revenge, or were they jealous because they did not want the others to live on?" (p. 160).

In common with many Germans, Hoess attempts to rationalize his exterminatory conduct by equating it with the Allied bombings of German women and children. He estimates German civilian casualties in the several millions (p. 171), which is at least a 20-fold exaggeration.

As for lebensraum, Hoess belatedly concluded that Germany could have achieved it peacefully (p. 182).

Hoess suggested that crude propaganda such as Der Sturmer had hindered the development of scientific anti-Semitism (p. 140). He also came to believe that the extermination of Jews only brought hatred against Germany and increased Jewish power by discrediting anti-Semitism (p. 183).

This volume isn't limited to Hoess' memoirs. The entire Wannsee Protocol is printed in translation. It is obvious that the choice of Poland as the site of the German death camps was based solely on practical considerations (minimalized transportation) and had nothing to do with real or stereotyped Polish attitudes towards Jews: "State Secretary Dr. Buehler declared that the government of Occupied Poland would welcome it if the final solution to this question would be started in Occupied Poland. His reason: transport plays no important role here and the deployment of workers during the operation would not cause any problems." (p. 380).

My opinion is based on the comparison with the orginal publication in German, which I purchased in 1960 to provide essential information for the subsequent psychiatric evaluations of several thousand Holocaust survivors.

On April 16, 1947, Rudolph Hoess, the infamous Kommandant of Auschwitz was hanged in his former concentration camp for, "crimes against the Polish people." While awaiting trial, Hoess, who knew he would pay for his crimes with his life, sought to renew the spiritual connection he had eschewed as a youth. Accordingly, he recounted his time in the SS for his captors. His story is also that of the darkest side of the Third Reich.

The book begins with a discussion of the, "final solution," of the Jewish Question. He tells how he was ordered to establish a camp at Auschwitz for the purpose of eliminating, "enemies of the state." Details of camp construction and experiments to find the appropriate gas he describes without emotion. Yet he relates questions asked by young SS soldiers and inmates as to how small children could be an "enemy." His "party line" response fooled some, but never himself.

Hoess also describes the victims he tried to destroy. Jews had "strong family ties;" gypsies were, "childlike;" the Jehovah's Witnesses were worthy of emulation. The SS was challenged to have the same devotion to the Fuhrer as they had to Jehovah. In chapter 22 he describes the gassing process as only he could do. His primary concern was to dispatch his victims quickly and efficiently without displaying emotion that would affect young guards. Here, he admits, he hid behind an iron mask. Particularly interesting is the story of a young, extremely attractive, Jewish girl who fought back even as she was undressing for the gas chamber. Resistance was rare but in this case, effective, very effective!

The book describes his early life and the events that caused him and many others to blindly follow the SS motto: "Fuhrer, you order. We obey!" Hoess gives a detailed description of the hierarchy of the SS. Men, who had been portrayed as super-human, are shown to have been far short of that ideal. Alcoholism and suicide rates were high; competence was low! Still, operations continued despite all difficulties because, "Orders were orders!"

Death Dealer is a first person account of the operations of the most infamous death camp in history. After sending an estimated 2.5 million people to their deaths, the Kommandant, ended his life by doing one decent thing: he left his memoirs so no one could deny this ever happened. For that, the world owes Rudoph Hoess, the Kommandant of Auschwitz, a debt of gratitude.

This is a book that causes the reader to reconsider, reflect critically one's own views, marvel at the level of depravity to which humans can steep, and is one which I imagine should be a standard text in ethics courses.
But it also raises questions of memory and the mind"s ability to adjust, amend and retool. Mr Levi must stand as one of that sad century's most astonishing examples of positive human achievement .

Primo Levi suggests that perceiving the experiences of others is extremely difficult and grows more so as the distance in time, space, and quality increases. "We are prone to assimilate them to 'related' ones, as if the hunger in Auschwitz were the same as that of someone who has skipped a meal, or as if escape from Treblinka were similar to an esacpe from an ordinary jail."

If you are now living in an affluent democratic society, the book leads you to wonder, "Would I recognize the warning signs? If I were a victim, would I descend into barbarism? If I were not, would I have the courage to speak on their behalf? Would I become a monster?"

Primo Levi's final memoir about the Nazi Holocaust is among the most provocative and compelling accounts of the Shoah in the entire literature. Indeed, it is one of the great political memoirs of recent years. Levi was an Italian chemist, anti-Nazi activist, and Jew who was sent to Auschwitz and famously documented the atrocities that he experienced in `Survival at Auschwitz,' one of the first memoirs to be widely read in Germany. This book is a profoundly introspective rumination, not on the particular horrors of the camps, but of their philosophical implications for human beings as a whole. In `The Grey Zone,' Levi explores the moral ambiguity of this moment in history, both in terms of the work of the Kapos and the rare but meaningful resistance from the Germans. Levi is open to the possibility of a moral spectrum, yet he remains unequivocally vociferous in his condemnation of National Socialism, and of the German people's complicity with this movement. There are many striking and haunting moments in `The Drowned and the Saved,' such as Levi's discussion of the Musselman, or the experience of palpable shame on the part of the Jewish victims. This book is a special memoir because Levi refuses to draw the reader via an explicit recollection of the litany of horrors that he experienced, but because he is willing to penetrate into the meaning and truth of the holocaust as human abomination. A true masterpiece, both in approach and in execution.

It is redundant to praise this book or describe its background, which has been done very well by other reviewers. This was Levi's final wrestling with the implications of what he called the Lager (he didn't use the term 'Holocaust'), not only as he experienced it, but more generally.

Just a few points that may be less obvious. Levi never uses the phrase "survivor guilt," and his choice of terms was never without consideration. Rather, he uses the term, "shame." The chapter that goes by that name is an enormously subtle and evolving one. Levi continues to probe the feeling as he recalls it after "liberation," and there are at least five different concepts of what that "shame" entailed, no one of which did Levi think was definitive. By the way, none of Levi's definitions are the same as the popular notion of "survivor" guilt - that one feels guilty simply for having survived while others did not. The closest he comes is to talk about surviving "in place of another," which is a more complex idea. It refers specifically to the nature of the camps themselves, a horrific "laboratory," as Levi put it, in which selections, influence, luck and more did mean that one's survival always came at someone else's cost. This is a sociological point. It would not the case, for example, for the survivor of a tornado or earthquake.

Second, the "grey zone" is very often misinterpreted to suggest that perpetrators and victims met in some "middle ground" somewhere. Levi is definitive about this. The responsibility of the killers and the victims are in no sense, and in no context, equivalent. But in the squalid and horrific world that was the lager, there was an enormous range of types and characters. Levi is arguing mostly against what he calls "stereotypes" - convenient simplifications.

Finally, it may be of interest that "the drowned and the saved" was intended by Levi to be the title of his first book, If This is a Man (known in the U.S. as Survival in Auschwitz). His publisher disagreed, although there is a chapter in If This is a Man called Drowned and Saved. Levi's preoccupation with the role in the camp of differences in power, privilege, luck, and alliances-of-convenience runs throughout his work. It is a topic that still deserves much more attention than it has received.

"The Drowned and the Saved" is the final book of Primo Levi (1919-1987), a Jewish-Italian chemist who survived the death camp of Auschwitz, and turned to authorship in his later years. This book is a group of a half-dozen related essays, each exploring a specific aspect of Levi's view of the Holocaust's causes and effects.

He begins with the concept of "good faith", wondering whether believing a lie excuses it. He notes that oppressors lie to save themselves from believing they are evil, and victims lie to save themselves from believing they suffer. He explores the moral zone between black and white, noting that anybody can be a tough killer or a foolish victim: we are all tyrants and victims in our own way.

He examines survivor's guilt, and reflects on the roles of luck versus blessing in life, and discusses the ways humans need communication to survive, including the way victims bend language to disguise their intentions, and tyrants twist it to cause confusion among their victims.

He tries to distinguish between rationalized evil and collective madness. He believes the spirit and mind can be injured just as the body can, and wonders how a person's perspective plays a role in their survival and psychological health. He describes the various stereotypes people hold when they imagine the stories of those who lived through WWII, e.g., the romantic hero, the evil Nazi, the prisoner who always plots escape, and so on, but explains why they are rough and inaccurate.

Each chapter is like a conversation with an intelligent and qualified author. It is thoughtful, and a pleasure to read. It reflects on psychological and historical themes which are important not only to our understanding of the Holocaust, but also more generally human nature. (It appears to be a rumination on subjects discussed in his other books, collected and summarized briefly here.) It is for this reason that the book is successful. It considers the Holocaust in particular, but its themes are actually deeper and more universal.

"Letters from Germans", the penultimate chapter, is the book's most powerful, noticeably demonstrating the tension between his memory of that time period, and the memory of various Germans, in their own words. He especially berates those who believe they are doing the right thing by speaking out in shame and guilt over theit past, perhaps attacking them a bit harshly, but certainly with justification. The last chapter, "Conclusion", is its weakest. In the opinion of this reviewer, it over-generalizes, and tries to apply retrospective analysis to the world's future. It also calls for unwarranted conclusions, unrelated to the preceding chapters, and perhaps contradicts itself. Luckily it is brief, and does not detract from the excellence of the prior explorations.

(For example, he says war is unecessary, and mankind can settle all conflicts around a table, but only as long as we are in good faith. He then calls Hitler a buffoon, implying he cannot be taken in good faith. He next says we need not have good faith to negotiate if we are all equally in fear of war, but this sounds like he is saying war is necessary after all, even if only to remind us there are punishments for negotiation in bad faith!)

Despite its conclusion (which many readers will probably enjoy, despite this reviewer's belief it over-reaches), the book is an intelligent and even-handed, but personal assessment of the Holocaust, written in an engaging and intelligent style, with brevity and wit. At 200 pages, it is easy to read. Packed with philosophy and insight, it is worth the investment.

Setting aside its profound Jewish interest, the book is an outstanding chronicle of WWII, rich with detail concerning the hardships, the cold, the Russian-Polish landscape, the polyglot bands of homeless partisans and refugees, their ruthless tactics for survival,and the ugliness and arbitrariness of death. My favorite book by one of the greatest writers of the 20th century.

While the book isn't a true story, the characters are based on real people Primo Levi met during the holocaust. It surprises, inspires and humbles the reader to know that humanity can exist in the midst of such horrible chaos.

I liked the fact that there is not happily ever after, that the characters must fight to produce their own future. But, it is good to know that along their journey, they met many who would help them.

Primo Levi is a wonderful writer. He stays true to character, winds the subplots into the main plot without jerky interruptions and allows the characters to be real, not stereotypes.

Primo Levi, from what I know was a very gifted and sensitive man. Levi never forgave himself for surviving the holocaust, he felt guilty because his own life was spared, eventually he committed suicide. A very little known fact of World War II, was the work of the Jewish Resistance. Millions of European Jews perished in the holocaust, some managed to get away, a few managed to hide, and there also were the Jewish Partisans; those who fought. If not now .. when? is an absolutely beautiful story of those souls who fought the oppression. This is not a graphic book of the suffering of the holocaust; this is a great novel about a group of people who in spite of all the suffering keep moving forward. They do hold it together, they make friends, love, sing, and cry, celebrate and mourn. This is not a war glory story, it is a people story, and how they changed and adapted, how they kept going. Yes, the overused expression of "triumph of the human spirit" so appropriately describes the theme of the book, but not always; Levi was realistic enough to see to that. I was profoundly touched by this book and thoroughly enjoyed it as a non-Jew. However, I never saw this book as a journey to Palestine, as suggested by some. These were people rising up to fight injustice and to stay alive, they largely moved aimlessly. To interpret this book as a part of the Zionist ovement would in my opinion be wrong. This is translated book, it is excellent in English, and it must have been even better in Italian. I wish I could read it in its original language.

This fictional account of Jewish partisans fighting their way through war ravaged eastern Europe is incredibly moving. The characters are so realistically human in their reactions to the chaotic conditions that they encounter. The book explores a chapter of WWII history that is not very well known and does so from the perspectives of ordinary people caught up in the swirling events and joined together by a desire to survive as well as by a common hatred of the Nazis. There is an incredible life affirming wedding scene in the midst of countless grim episodes that demonstrates the human capacity of endurance. The translation is excellent and the narrative is crisp and fast moving. One of the best literary works dealing with the European war.Unforgettable!.

This is one of Levi's last works, the story is about a fictional group of Jewish partisans operating behind German lines in Russia and Poland from July, 1943 to the end of World War II. Levi himself joined a partisan band in 1943, although it was in Italy, not Russia, and he was soon captured and sent to Auschwitz. Although the plot and characters are fictional, Levi has gone to great lengths to make his story as authentic as possible. This novel is based not only on his own personal experiences, but on conversations he had with others, and on other published accounts of the experiences of Jewish partisans operating behind enemy lines on the Eastern Front (Levi even provides a bibliography at the end). This is a book of hope, not of despair. Levi explicitly eschews accounts of the death camps in this work; it is not a work of "Holocaust Literature". It is a story of the Jewish resistance with universal overtones.

What makes this book more than just another "war story" is the rich cast of characters, drawn with sympathy, humor, and without a trace of sentimentality. Typical of these is the leader of the partisan band, a man of great charisma, and a brilliant decision-maker, who understands that in the forest, surrounded by enemies, with the life-sustaining morale of his small force hanging in the balance, his violin is almost as essential for the group's survival as his weapon. What gives this book such great authenticity is that none of the characters are paragons of virtue; they are ordinary, flawed people forced to draw upon every last ounce of courage and resourcefulness within just to survive to fight another day. Front and center to the survival of the group is the fierce loyalty its members have to each other. Even as the war ends and they are no longer in deadly peril, the members of the band share a common destiny in which the fate of one is the fate of all.

I found this book very difficult to put down once I started it. It would be hard to find a more vivid, well-told tale of what it was like for the partisans along the Eastern front of World War II.

The Reawakening opens in January 1945, when author Primo Levi is released from a Nazi concnetration camp by Russian troops. His health almost ruined, suffering from unbearable knowledge of the crimes committed in the camps, Levi re-enters the world to find that it has been turned upside down by the war. Improbably - he explains in an afterword that it is not in his nature to hate - he finds in himself a capacity to see the world afresh, almost as a child would.

In the rest of the book, we accompany Levi and his companions on a picaresque through postwar Europe and Russia as they try to make their way back to their native Italy. While their sufferings are legion, Levi takes great pleasure in food, in his fellow man, and in nature. In particular, he displays a fine appreciation for the absurdities visited on the refugees by their well-intentioned but inept Russian rescuers.

This book is an entertaining read. Beyond that, it is an important document of the Holocaust. And beyond that, it is an important resource for modern readers who are finding their own way through an often absurd world. Highly recommended.

This is just one of the many brilliant writings of Primo Levi but it tells a tale of Holocaust survival that is often overlooked. Most narratives seem to end at liberation and this one gives us a detailed view of what happened afterwards. This is the book that the movie "The Truce" (which is also the title of this book in Italy)is loosely based on. I don't think the movie did the book justice at all and so I would especially recommend this book to anyone that has seen the movie. Like all of Levi's works it is written in a sparse yet fantastic style and it really is a great follow up to "Survival In Auschwitz".

Published in 1963, "The Reawakening" is a narrative of Primo Levi's tortuous journey back to Turin after liberation from Auschwitz. In fact, it is a follow-up of "Survival in Auschwitz." As stated by Primo Levi, "after Auschwitz, I had an absolute need to write, not only as a moral duty, but as psychological need, to free myself from anguish." Out of 650 Italian Jews who journeyed to Auschwitz, with Primo Levi, only 20 left the camp alive.

Levi assumes the calm, sober language of the witness, with no manifested hate and purpose of revenge, devoid of bitterness. His prose is precise, clear, with no embellishment, lively transmitting his bewilderment of the simple fact that he had survived.

The reader cannot help be amazed by the details recorded in Levi's memory, places, names, characters, personalities, it is as though he wrote everything in locus. His memory was a blessing... but might have also been his tormenter... After a long period of depression, Levi died after falling from a stairwell in his Turin home. The question will always remain whether it was or not suicide. Levi, through his writings, symbolizes the triumph of reasoning and humanity over madness and cruelty.

Like Survival in Auschwitz and The Periodic Table, The Reawakening is populated with Levi's brilliant language and fascination with character. In Survival, Table and Reawakening, Levi is careful not to force facts into a satisfyingly explanatory story. The Reawakening is a picaresque without the moral center. Levi travels home through a carnival world, a Europe simultaneously stunned and ecstatic, a landscape of displaced characters, Greek villagers in Polish refugee camps, complicit Germans sitting down to the first course of horrific recent history and guilt, cadaverous lager inmates staggering into a world forever altered. It is a world populated with impresarios, rakes, opportunists, suicides, daredevils and rubes. But, more than anything else, The Reawakening is brimming with life; Levi makes his way home eyes forward.

I found myself thinking of two other books while reading Reawakening--Kosinski's The Painted Bird and Wolfe's Look Homeward Angel. Like Kosinski, Levi reminds us that much of rural eastern Europe was cruel and primitive before the Nazi's made a virtue of these qualities. And, like Wolfe's Gant family, the characters in Levi's account are often exuberant to the point of mania.

I think that Levi is one of the great writers and thinkers of our time. In this way, I'm not a reliable critic. Reviewing The Reawakening is akin to reviewing Hamlet for me.

An really good book. I read it immediately after his previous book (Survival in Auschwitz : The Nazi Assault on Humanity) and where the first one is extremely sad and depressing this second one is an incredible insight into the mixture of characters that Levi encounters on his way back from Auschwitz. Although set in a completely ruined Eastern Europe I found the book positive and intriguing to read. His friends the Greek, Cesare, il Moro etc. are all amazing characters to read about and his whole journey through the Russian bureaucracy is just as fascinating to experience as well.

That Primo Levi remains the author of perhaps the finest memoir of the Holocaust remains beyond dispute. His crisp vivid prose have helped half a century of readers imagine the unimaginable, yet Levi's work extended far beyond his memoirs of the evil he endured, but unfortunately, like lodestones, those works weighted down the vast body of his writings, often obscuring them from the view of potential readers. These other works, which include poetry, short stories, and at least one novel, defy easy categorization. All sparkle with Levi's razor style. Like Calvino, Levi was a man who sought to break the bonds of convention, to communicate with the reader in a way at once intellectual and visceral. Yet for years, unless you read Italian, you were denied access to these works.

Considerable then is the debt readers owe Goldstein and Bastagli, translators of the new Levi collection, "A Tranquil Star." The stories here run the range of Levi's work, from brief tales taken from his own life, such as a story of a captured partisan ("The Death of Marinese") or a tale within a tale of mountain climbers ("Bear Meat"). Other stories show a humorous, fantastical bend, like "Censorship in Bitinia" in which a nation's censor office discovers that the "essential" process can be deleterious to health, and seek to find an animal that can carry it out and "Gladiator" about a sporting event in which pedestrians duel with cars. In "Knall" Levi offers a Calvinoesque scifi comment on society, discussing the rage for a new gadget which allows people to murder one another silently, albeit only at close range.

Not every one of these stories will grab every reader, yet all should admire Levi's effort to push the bounds of standard narrative and dig deep into the ills and foibles of the society around him. His gift for allegory and imagery were rare, and unappreciated beyond a narrow readership. With the publication of "A Tranquil Star" a great many new readers can discover this giant of 20th Century prose, and will almost surely beg for the these translators to continue their work.

Primo Levi is one of my favorites, but this book really exposes how he has changed over time.

Divided into his earlier and later stories, the book divides pretty cleanly along those lines into classic Primo Levi and newer stuff that could easily have remained unpublished. I was especially looking forward to Bear Meat which is an elaboration of some stories he includes in the Periodic Table; it did not dissappoint. A few of the other stories were also great - the one about the captured partisan, for example. In general, however, I was not pleased with most of the stories, some of which veer off into genres that Levi does not seem at home in.

I can reccommend a few of the stories in this book that Levi fans would love to read because they complement earlier works. However, this is not a good introduction to Primo Levi and I would generally steer away from this book and towards his beautiful book The Periodic Table, or one of his many books about his time in Aushwitz.

Primo Levi is the most honest intepreter of the Holocaust and of his own life and experiences. He envelopes the reader and invites him to become part of him as he tells about his life, experiences and the philosophy that is his life. One can feel his sensitivity and honesty in all his writing-he is not out to impress but rather to document in language that is sophisticated but clear. I have read all his books, he has molded the way I see life and what I expect of it and myself. This book is a collection of short stories clearly written and constantly demanding that the reader think and move beyond himself and his life. I highly recomend this book and all others he has written.

This is between a three and a four "star" effort compared to the best of Levi already published, but it remains for those of us limited to English-language versions for Levi's work a welcome arrival on the small shelf of his writing over nearly forty years. These stories appear in English for the first time, commemorating the twentieth anniversary of his death.

This thin anthology gathers seventeen short tales--not all of them are full-fledged stories. They range from a park full of figures from literature who survive there as long as they are remembered (a conceit that has another twist in Kevin Brockmeier's recent novel "A Brief History of the Dead," also reviewed by me on Amazon) to a deadly little weapon called a "knall" to a gladiator fight pitting cars against hammer-throwing humans. Some are more fantastic, recalling Italo Calvino's fables but with more of an edgy or jaundiced view towards human weakness and unpredictable foibles. These, of the magic paint "tantalum" that works great until the user's bath time, or a kangaroo in "Buffet Dinner," or the Kafkaesque "Bureau of Vital Statistics," remind me of similar reflections collected in the earlier volume "The Mirror Maker." Tales in "A Tranquil Star" like "The Fugitive," "The TV Fans," or "The Molecule's Defiance" (great title admittedly) fall into this mode. But these, in my opinion, are not as gripping as those closer to reality, or at least allegory!

If you have come to "A Tranquil Star" without having read Levi's earlier pieces in this mode, the subject matter may seem light and inconsequential compared to the Holocaust narratives for which he is most known in English today. The introduction gives a quick run-through of which stories appeared when; they range over the whole career of Levi, and the anthology does shift in tone and topic accordingly. The earliest entry powerfully dramatizes a partisan's last minutes of life, and "One Night" hints at wartime allegory, "Fra Diavolo" sounds practically autobiographical out of Fascist 1930s Italy. But even those stories with no Italian or European mid-century setting express the author's consistent concerns. All of Levi's prose contrasts fragility vs. dominance, clarity vs. confusion, and detachment vs. annihilation all occur.

In unsparing, yet graceful and calm expression, in this volume I find these topics treated most poignantly in the title story that concludes this book, about an expanding star. As the star bursts, the story suddenly switches, to a Peruvian astronomer's thoughts as he compares the photographic plates of what seems to be the same supernova. He then wonders what he will tell his family.

The universal and the immediate collide. Here is how the fate of a planet under the star is summed up. "After ten hours, the entire planet was reduced to vapor, along with all the delicate and subtle works that the combined labor of chance and necessity, through innumerable trials and errors, had perhaps created there, and along with all of the poets and wise men who had perhaps examined the sky, and had wondered what was the value of so many little lights, and had found no answer. That was the answer." (160) This excerpt shows the quality of Levi's voice at its clearest, and the transparent translation that brings these stories to us marvelously rendered.

Not all the stories are flawless. "The Girl in the Book" seems to fall flat, giving us what happens in real life rather than in fiction as its conclusion, but this does not satisfy after the buildup of the tale. Levi can be a tough entertainer. He prefers to separate himself from his tales, and perhaps his rigor leaves the weaker tales here floundering once they are separated from their teller's warmth.

They tend overall towards the brief elaboration of a clever image or idea. Like much fiction of this genre, the narrative arc fades. The teller's voice forces you to listen, to see, to enter into what he describes. This is the same as the Holocaust narratives, and Levi's skill appears in fiction to be less of a craftsman of the ornate prose style, the intricate plot, or the in-depth characterization than many other modern writers. Instead, he illuminates a train forced to halt one night and then backs away after he tells you in an eerily objective voice how it and the tracks around it were completely and silently dismantled. Parts of the rambling but engaging "Bear Meat" are the liveliest pages here. He sets up a mountaineering story (and like the "element" in "The Periodic Table," I wish Levi had written more about the peaks he loved to once climb) with appealing citations from Dante in "Bear Meat" but halfway through a second narrator interjects another anecdote, and then the story stops, the two halves settling but not joined neatly.

The kangaroo's dinner attendance is recounted, but after predictable mayhem, the beast jumps away into the evening and that's that. "Censorship in Bitinia" ends up exactly where you expect--it's clever, but not profound. "The Magic Paint" switches from the discussion of "tantalum" into Fessio's fate after his glasses are coated with another substance, and the narrator then halts. This jarring assembly may be intentional on Levi's part. It does mimic our own patterns of relating stories to each other in fragments and elisions and jerks and starts and stops.

But, for those seeking elegant fables and erudite wit, these fictions (what seem to be the last ones untranslated by now, so this may account for their uneven quality as stand-alone pieces) may reveal to you a handful, among the seventeen, that will prove as memorable as to me the title story. My other finalists are "The Sorcerers" with its predicament of two smart academics unable to convey the how-tos of all the technological wonders of the First World to a tribe in remote Bolivia's rainforest, and "One Night" with its disturbing abandoned train imagery. These leave me admiring again Levi's talent.

The Amazon blurb about the author shows how little he or she understands about what drove Mr. Levi to commit suicide. He had spent so much energy and effort trying to explain if that's even the word, what had happened during the Holocaust. He felt toward the end of his life that no one was listening and as he and others knew so well, we were bypassing knowledge that would hopefully have led to the end of the madness of war and genocide. It was total despair that caused him to throw himself over the balcony in his apartment building and to me there isn't a touch of irony in what he felt he had to do. The worst sin of all as Eli Weisel has so often pointed out is that of indifference. We the reading public were not heeding the warnings coming from gentlemen such as these two and it is easy to see how Primo Levi was simply driven back into madness because of it.

Primo Levi gives us his insight on other authors' works as well as further details of nis own. A book for those who have already read some of his work, especially The Periodic Table and If This Is a Man and The Truce. Levi (and his translators, who are excellent)holds the mirror to humankind's deeds - and still wonders WHY such things came to pass. Not always able to fully explain certain actions (but for pure evil), Levi makes us look inside our own souls, our sence of dignity, our favor for respect of others - or the lack of it. Articles and lectures current to the time of his death - a wonderful book.

I assume that this book is a translation of Levi's "L'asimmetria e la vita: Articoli e saggi 1955-1987," published in Italian in 2002. I have not checked out the English translation, but the Italian original is a wonderful book and a great introductio to Levi.

I do want to respond to "Old School" who wrote the first review to "The Black Hole." I urge him or her to read Ian Thomson's magnificent biography "Primo Levi: A Life." That Levi committed suicide--and Thomson has no doubt that he did--had its roots in a lifelong battle with depression. Auschwitz may have have compounded his depressive tendencies, but it did not cause them. And there is no evidence to suggest that he committed suicide because his laments about the Holocaust were not being heard. None. Nor will the book under review here supply such evidence. See Thomson, pp, 493ff.

It was a good book, keeping up with the Cambridge tradition, I found the contribution by Zaia Alexander the least insightful and it would be least missed if it were taken out

After having read this masterpiece, I'm glad to say that it keeps with the tradition of the Cambridge publications - an absolute must-have. I feel that all of the contributions are well placed, necessary, and insightful. Each of the contributors have a reverence for and equally passionate disposition to Levi's message and experience. Thank you for this book.

There are some people who you can never hear enough of. Levi is certainly one of those. He combines one of the greates talents as a writer in this century with a wisdom uncommon for any age.

This book is not an adventure story in the typical sence of the word, but reading it is an adventure, and I for one am a better man for having opened its covers.

I don't think that Levi has ever written a book that I would only read once. This book, I look forward to revisting many times over. The maximum length of this review is one thousnd words. If all those words were supperlatives, I would not come close to doing this book justice.

Meet Faussone, an able tradesmen who sets up cranes around the world and enjoys his work. Most of the several short stories in the book centre on him recounting some interesting job he's been involved in. 
 
Rather than remain invisible and let 'Faussone' do all the talking, the listener/narrator is also allowed to take on a role - the stories are clearly placed in a setting of Faussone talking to the semi-autobiographical persona of Levi. We learn a little of why he's putting down these stories, his own speculation on whether writing is a worthy 'craft' compared to that of the tradesman, and he even drops in a work story of his own (as a chemist - Levi himself was a chemist) to conclude. Levi highlights the importance of the listener and the context to the stories, which, while entertaining enough to stand on their own, are enhanced by tangents of setting and response. Moreover there's room for just a little plot and relationship development winding alongside the stories.
 
As close as I can think of are the James Herriot stories, although I suspect some of Levi's fans would be a bit horrified at the comparison. That being said, I suspect 'Herriot' himself would have enjoyed the book. Levi's stories, however, are not nearly as formulaic (or as funny), and Levi is a more able painter of characters that feel more authentic, and don't necessarily need to be pigeon-holed. Amusing that Faussone feels more authentic than some of Herriot's doubtless 'real' recollected characters: in a postscript Levi says,
"Faussone is imaginary but "perfectly authentic," at the same time; he is a compound, a mosaic of numerous men I have met, similar to Faussone..."
 
There's a grace there as well - which some would find bland - this isn't sensationalist fiction with a sting or a belly laugh. Levi does have an agenda - to suggest that a worker who takes pride and pleasure in his trade is as good a subject (and hero) for a novel as any super spy or renegade cop or tortured academic or whatever. There's also an acknowledgement of giving some praise to Levi and Faussone's fathers in this, so perhaps he can be forgiven if his picture is a bit eulogistic.
 
The 'wrench' (if the translation got this right) isn't just a symbol of blue collar labour, it's also the wrench between the metaphysical profession of writing books and that of actually making tangible things. The 'Levi' of the stories is struggling with this, and Faussone's parting advice to him is:
"...I tell you, doing things you can touch with your hands has an advantage: you can make comparisons and understand how much you are worth. You make a mistake, you correct it, and next time you don't make it..."
and earlier 'Levi' speculated that perhaps so many writers have bad stress because they can't test their work with a level or a gauge, and are working blind half the time.
 
So, if you're in the mood for something reflective, diverting, and well written - go ahead. If you're after some action or melodrama, wait for another mood.

What could be more attracitve? Here's a book about travel in countries all over the globe, and it's made up of conversations between two practical men of the world. A theme--engineers construct things, authors construct stories--ties the chapters together.

A great idea, but, alas, one that has been turned into a dreadful book. We're warned in the very beginning that the speaker might, at times, be a bit imperfect: repetetive, full of himself, prone to get lost in details. But the first chapter shows him, despite these short-comings, to be fascinating. Nonetheless, in the chapters that follow, he turns out to be every bit as insufferable as we'd been told in that first page.

Each chapter is filled with mind-numbing details of construction projects, only relieved, at times, with brief passages that are more interesting. Levi's book does justice neither to world travel nor to Italian literature.

Excellent series of vignettes/stories generally related within the novel by a crane/derrick rigger to the author, a chemist. For those with no inclination to industrial engineering and chemistry, this book makes the two subjects seem interesting, and uniquely identifies them with the human condition. Quite beautiful.

I finished this book and read it all the way through again less than a month later. There are lots of things to like about it. Mainly, though, I like it because it conveys a sense of joy in work, in writing, in the less spectacular aspects of life that can be as much a source of happiness as can the great gifts that come along once or twice in a lifetime. And the stories are told in such an engaging way you don't really realize Levi is showing you a way to make life bearable. The sad thing is that Primo Levi apparently couldn't do for himself what he did for so many of his readers.

I also like that though a good part of the novel takes place in the former Soviet Union, Levi, with the exception of one chapter in the book, says nary a word about communism. The Soviet regime is, for the purpose of his book, completely irrelevant. Lesser writers would have stuck to the "one-man-against-the-regime" template.

That said, I do have some gripes, mostly to do with the translation. Levi has been very badly served either by his translators or, more likely, by his American publishers. Why this book was called _The Monkey's Wrench_ is beyond me. There's a wrench, and there's a monkey all right, but there's nothing so patently ridiculous as a wrench belonging to a monkey. _The Wrench_, plain and simple, like Levi's prose, would have sufficed.

Memory and Mastery: Primo Levi as Writer and Witness helps fill a growing need for more study and understanding of the seminal art, thought, and influence of Auschwitz survivor Primo Levi, one of the most important of all Holocaust survivor-authors.

Meticulously edited by Roberta Kremer, Memory and Mastery brings together scholars from various backgrounds and disciplines to bring attendtion to all aspects of Levi's work, from his science-fiction writing to his poetry, and his fictional and non-fictional writings about the Holocaust. The volume concludes with a valuable, comprehensive bibliography of work on and by Prino Levi.

Memory and Mastery is a fitting tribute to a world-class writer. the papers, while scholarly, are all very accesible to the average reader, yet students of postmodern culture will also enjoy the collection's concentration on language; on how it represents and mis-represents its subject matter-on how we become its servants, as well as its masters.

Dr. Graham Forst, Professor of English, Capilano College

Memory and Mastery: Primo Levi as Writer and Witness helps fill a growing need for more study and understanding of the seminal art, thought, and influence of Auschwitz survivor Primo Levi, one of the most important of all Holocaust survivor-authors.

Meticulously edited by Roberta Kremer, Memory and Mastery brings together scholars from various backgrounds and disciplines to bring attendtion to all aspects of Levi's work, from his science-fiction writing to his poetry, and his fictional and non-fictional writings about the Holocaust. The volume concludes with a valuable, comprehensive bibliography of work on and by Prino Levi.

Memory and Mastery is a fitting tribute to a world-class writer. the papers, while scholarly, are all very accesible to the average reader, yet students of postmodern culture will also enjoy the collection's concentration on language; on how it represents and mis-represents its subject matter-on how we become its servants, as well as its masters.

Dr. Graham Forst, Professor of English, Capilano College

"Memory and Mastery helps fill a growing need for more study and understanding of the seminal art, thought, and influence of Auschwitz survivor Primo Levi, one of the most important of all Holocaust survivor-authors. Meticulously edited by Roberta Kremer, Memory and Mastery brings together scholars from various backgrounds and disciplines, to bring attntion to all aspects of Levi's work, from his science fiction writing to his poetry, and his fictional and non-fictional writings about the Holocaust. The volume concludes with a valuable, comprehensive bibliography of work on and by Primo Levi". From a review written By Dr. Graham Forst, published in Zachor, October 2001.