Fans pick 100 books like Peripheral Memories

This is one of the best critical surveys of the relationship between memory and history I have encountered. Geoffrey Cubitt is concerned with memory as both personal and social, along with the various dynamics between them. The book is interdisciplinary in conception and operation, exploring how history and memory inform one another in complementary and contradictory ways, and how both cross and re-cross varying scales of past/present relations. Regardless of whether readers approach this book from the perspective of memory or history, they will find it a comprehensive assessment of their complex interaction.

Focusing in the main on the psychology of memory, in this excellent book Kurt Danziger argues that conceptually memory has changed considerably over time, not least because of the shifting historical contexts in which it has been applied. The book covers such critical issues as different kinds of memory, memory and metaphor, the cultivation of memory, and memory and truth. Danziger’s contention throughout the book is that memory and remembering are ineluctably social, and any sound understanding of them needs to account for how various historical factors and cultural practices have shaped and helped constitute them. 

In this book Max Silverman focuses on the remembering and understanding of extreme violence and terror, arguing against the tendency to separate different histories from each other along ethno-cultural lines. In countering this tendency, he conceives of the present not as an isolated moment but rather as a composite structure made up of different temporal traces from the past, lying in varying layers of visibility within the present, each of them capable of mediating, and being transformed by, another. Silverman builds a cogent case for the ways in which history, memory and imagination overlap and interact. After reading this book, it is difficult, if not impossible, to mount a defence of memory as authentic, sovereign, and autonomous. 

All the books being recommended on this topic see memory and remembering as being structured and directed by the views and perspectives of the social groups to which people belong. Ever since Bartlett and Halbwachs, we have come to see memory as in many ways moulded by particular mental schemata and configurations associated with the various groups that exist within a social whole, yet the notion of collective memory is beset with problems: problems of exaggeration, reification, functionalism, and more. It is therefore fitting that in this edited collection the work of Halbwach in particular is regarded critically, and extended historically, while also being recognised as providing the necessary starting point: "social groups construct their own images of the world by constantly shaping and reshaping versions of the past" (p. 3).

As we saw with Danziger, the social frameworks of memory as well as the kinds of memory being actively… show more.

Andreas Huyssen is the author of many distinguished books, but this one is especially important because it expanded the study of public memory to South America, which has had its own share of traumatic pasts to memorialize. Huyssen argues that World War II and the Holocaust have provided  “templates” for memorialization that have been adapted by the Memory Park in Buenos Aires, among other examples. 

Berta Geissmar was the Jewish secretary and confidante to legendary German conductor Wilhelm Furtwangler beginning in 1921.

In her memoir, published in 1944, Geissmar describes how the Nazi hierarchy interfered in the world of classical music, purging orchestras of Jewish musicians and banning works by Jewish composers. Although Furtwangler at first refused to do the bidding of the Nazis, he was eventually sidelined. And Geissmar soon became a Nazi target.

They blamed her for the bad publicity that the regime was getting in the classical music world, and seized her passport. Geissmar was eventually allowed to leave the country, and, ended up in London as the secretary of another legendary conductor—Sir Thomas Beecham.

The Holocaust survivor, Richard Glazar, authored a compelling memoir of his imprisonment and escape from the Nazi killing center at Treblinka in occupied Poland, a site at which an estimated one million Jewish men, women, and children perished at the hands of the SS and their Ukrainian auxiliaries.

Glazar provides a first-hand and extended look not only at the process of mass murder at the camp, but he also provides extensive descriptions and analysis of the SS men he encountered in the camp including their daily habits, personalities, and actions.

The memoir exposes the full range of the emotional, psychological, and physical hardship experienced by Glazar in the “death factory” of Treblinka and places perpetrator actions within the context of prisoner experience. 

Another great hit in Evans’ long series of books about Nazism, this is a very particular one: Evans was invited to take part as an expert in a trial for defamation brought by a British historian, David Irving, long suspected of being a tad too friendly towards the Nazi regime. This 2002 book recounts the trial and focuses on Evans decisive role: he went through Irving’s voluminous, and meticulous, books, finding misleading interpretations favoring the Nazi view of controversial events in World War II and, very particularly, views minimizing the scale of the Holocaust and Hitler’s role in it. This may be the ultimate book about detective work in the fight against misinformation.

Zable writes of the haunted consciousness of post-conflict generations, in his case, the holocaust.

He argues that great stories must have both terror and beauty, or they merely add to the darkness. It is easy to see the terror, but what of the jewels? I grappled with this question too - how do we rightly remember victims of extreme violence? When I looked to Zable, I found a work imbued with poetry and lyricism.

Jewels and Ashes is a transcendent retracing of the terrain of his parents and grandparents.

Kraft has drawn on 200 hours of testimony by Holocaust survivors to demonstrate how memory responds to atrocity. His juxtaposition of accounts allows one individual to be presented in relation to others, showing personal tragedies as well as the collective atrocity from the insights of multi-voice narratives.