“What I am reflecting on is that I have to forgive people, events, time, the world, the country and probably also myself in order to be able to write. Your Clarice Lispector was trying this, I assume, and somehow apparently she managed. Or maybe I should say this: I am writing in order to forgive.”
— Ece Temelkuran (Turkey), Letter to Annelies Beck, 15 August 2016
The radiant Nathalie Skowronek entered the field of literature ‘late’, by her own admission, with Karen et moi (Editions Arléa), a captivating novel in which she paid tribute to the author who had introduced her to the joys of reading, Karen Blixen (Out of Africa).
Having at once caught the literary world’s attention – her book was selected for no less than eight literary prizes in 2011! – Skowronek, who was born in Brussels in 1973, continued in 2013 with the highly personal Max, en apparence, in which she tells the story of her grandfather, an Auschwitz survivor who claims he has forgotten all about that dark time.
She returned in 2015 with a brief essay, which was also widely noticed, La Shoah de Monsieur Durand (Gallimard). In it she describes, bluntly but not provocatively, how the fourth generation of Jews after the Holocaust is dealing with the issue of memory, at a time when the last survivors of the camps are dying out.