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dc.contributor.authorBax, Sander-
dc.identifier.citationWerkwinkel vol. 7(1), 2012, pp. 33-60pl_PL
dc.description.abstractHarry Mulisch’s Criminal Case 40/61 is often regarded as an early representative of the movement of New Journalism and as an example for what we nowadays call ‘literary non-fiction.’ In this essay, I will argue that this classification does not do justice to the complexity of the literary experiments that Mulisch is trying out in this text. In Criminal Case 40/61 Mulisch develops a highly personal and literary way to write about Adolf Eichmann. A problem as complex as the essence of evil, he claims, can not be comprehended with the methods of journalism and history only, the Eichmann enigma calls for a new language. I will outline a number of techniques Mulisch used to achieve this goal. In this text, Mulisch uses an autofictional construction as well as a metaphorical way of thinking and writing that transgresses the journalistic or historicist mimetic-referential and discursive ways of writing. Central to Mulisch’s literary method are two principles: that of the invention of language and images and that of radical identification.pl_PL
dc.publisherDepartment of Dutch and South African Studies, Faculty of Englishpl_PL
dc.subjectliterary non-fictionpl_PL
dc.subjectNew Journalismpl_PL
dc.subjectHarry Mulischpl_PL
dc.subjectAdolf Eichmannpl_PL
dc.title“The loneliest spot on Earth”: Harry Mulisch’s Literary Experiment in Criminal Case 40/61pl_PL
Appears in Collections:Werkwinkel, 2012, vol. 7(1)

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