Eva Hoffman is the author of the best-selling memoir, Lost in Translation: A Life in a New Language (1989), and of four other non-fiction works: Exit Into History: A Journey Through the New Eastern Europe (1993), Shtetl: The Life and Death of a Small Town and an Extinguished World (1997), After Such Knowledge: Memory, History and the Legacy of the Holocaust (2004), and most recently, Time (2009). She has also published two novels, The Secret (2002) and Appassionata (2009). Eva Hoffman grew up in Cracow, Poland. After emigrating to Canada in her teens, she went on to study in the United States, receiving a PhD in English and American Literature from Harvard University. Subsequently, she worked as senior editor, writer and book reviewer on The New York Times. She has taught literature and creative writing at various universities in the U.S. and Britain, including Columbia University, University of East Anglia and MIT. Her work has been translated into several languages and she has received a Guggenheim Fellowship, a prize from the American Academy of Arts and Letters, and the Prix Italia for radio. She has written for and appeared on numerous radio and television programs and has lectured widely in the U.S., Britain and other European countries on cultural and social issues, Polish-Jewish history and psychoanalytic approaches to autobiography, language and memory.
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Lost in TranslationA Life in a New Language
We don’t have the remotest idea of what we might find or do there, but America—Canada in our minds is automatically subsumed under that category—has for us the old fabulous associations: streets paved with gold, the goose that laid the golden egg. There is also that book about Canada from the war. And, my father reminds my mother, whose impulses really draw her toward Israel, in Canada there is no war, and there never will be. Canada is the land of peace. In Israel, there’s a constant danger of war, and they take even girls into the army. Does she want her daughters to end up on a battlefield? Does she herself want to go through a war again?
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Lost in TranslationA Life in a New Language
But being “an immigrant,” I begin to learn, is considered a sort of location in itself—and sometimes a highly advantageous one at that. In uneventful Vancouver, I’m enough of a curiosity that I too enjoy the fifteen minutes of fame so often accorded to Eastern European exotics before they are replaced by a new batch. The local newspaper takes me up as a sort of pet, printing my picture when I give a concert at the Jewish Community Center and soliciting my views when I come back from a bus trip to the United Nations, on which I’ve been sent after winning a speech contest. They want to know my opinions of the various cities I’ve been in, and I have no hesitation about offering them. “New York is the real capital of the United States,” I readily opine. “Washington just has the government.
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Lost in TranslationA Life in a New Language
…I want to figure out, more urgently than before, where I belong in this America that’s made up of so many sub-Americas. I want, somehow, to give up the condition of being a foreigner. I no longer want to tell people quaint stories from the Old Country, I don’t want to be told that “exotic is erotic,” or that I have Eastern European intensity, or brooding Galician eyes. I no longer want to be propelled by immigrant chutzpah or desperado energy or usurper’s ambition. I no longer want to have the prickly, unrelenting consciousness that I’m living in the medium of a specific culture. It’s time to roll down the scrim and see the world directly, as the world. I want to reenter, through whatever Looking Glass will take me there, a state of ordinary reality.
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“A turbulent tale that grips the reader's attention. Hoffman's musical training, her sensitivity to current events, and her own traumatic life experiences combine to make for a distinctive novel that is fully worthy of our attention.” —Chicago Tribune [on Appassionata]
“Hoffman’s consistent sensitivity is informed by her wide erudition . . . The Secret is compelling throughout for Hoffman’s prose, for her insights on identity, for her reflections on history.” —The New York Times Book Review
“It is the enormous merit of Hoffman's book that it is free from ideological claptrap. It is beautifully written, full of word pictures that stay in the mind. She understands the way human beings have been moulded by politics, gender, race and generation.” —The Independent [on Exit into History]
Selected Works
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