The Vienna Paradox

by Marjorie Perloff

The Vienna Paradox is Marjorie Perloff's memoir of growing up in pre-World War II Vienna, her escape to America in 1938 with her upper-middle-class, highly cultured, and largely assimilated Jewish family, and her self-transformation from the German-speaking Gabriele Mintz to the English-speaking Marjorie--who also happened to be the granddaughter of Richard Sch ller, the Austrian foreign minister under Chancellor Dollfuss and a special delegate to...

• Format: Paperback
• Language: English
• ISBN: 0811215717
• ISBN13: 9780811215718
• Release Date: May 2004
• Publisher: New Directions Publishing Corporation
• Length: 283 Pages
• Weight: 0.75 lbs.
• Dimensions: 0.8" x 5.2" x 7.9"

Customer Reviews

"5 Star Diamond"

Marjorie Perloff's memoir was a complete pleasure from start to finish - it was a lucky accident for me that I came upon this gem. Absolutely delightful - charming in all ways, along with being particularly outstanding in combining the author's areas of professional expertise as a first class literary critic with her memories of an earlier Vienna and the traces that remain. This is not meant to slight at all her sharp remembrances of the events of growing up and the succinct clarity with which she describes them. Her memoir has many sections that point the reader to new areas for exploration: the Neue Gallery in NYC with its scintillating art collection (Schiele and Klimt), Arnold Schoenberg's writings and music, and the brilliant Austrian writer Thomas Bernhard, just to mention a few. The other reviews do a thorough job of providing more details about this book. I'll add that Ms. Perloff, the complete professional, includes an excellent index, helpful notes to accompany the text, and thoughtful illustrations that augment the memoir. A quote from the book jacket's inside cover is particularly apt: "This is, in other words, an intellectual memoir, both elegant and heartfelt, by one of America's leading thinkers, a narrative in which literary and philosophical reference is as central as the personal."

Autobiography as Literary Criticism

I picked up a copy of The Vienna Paradox: A Memoir, by Marjorie Perloff because the idea of a memoir about Vienna intrigued me, and because I've always been enthralled by the critical mind of this noted and innovative literary scholar. After I'd read it, I ordered some more copies to bestow on friends, most of whom have no particular interest in Vienna whatsoever. "Why are you giving me this book?" one of my more suspicious friends asked me. "What is there about this book that sets it apart from all the immigrant narratives, from all the nostalgic recounting of `old Vienna,' from all the other autobiographies that people turn to when they begin to realize that time is passing and whatever they don't set down will be forgotten?" The central distinction is this: Perloff doesn't just record her own experiences or those of her family and friends, she uses those experiences - the experiences of her extended family, experiences of other famous emigrants from Vienna, together with information about books, museums, websites, as well as restaurants, street guides and all kinds of other information - for other purposes than telling about her self. She's not seeking her own `roots,' but draws on those roots to examine some of the important and pressing questions that only a critic of the world with great experience, perspective and expertise can ask. What Perloff is exploring with her delineation and examination of the civilization in which her family was nurtured and from which it was expelled is far more complex than just where she comes from, or even what really were the negative effects of the Holocaust. She is asking what are the functions, the potential and the limitations of civilization: what should we value in culture, what should we discard, what can we know, what can we improve, and what are the individual limitations. At one point Perloff quotes Wittgenstein if we think of the world's future, we always mean where it will be if it keeps going as we see it going now and it doesn't occur to us that it is not going in a straight line but in a curve, constantly changing direction. (33) The lessons from history are not imperatives for the future, and therefore every detail must be examined, and it is the role of the artist and the critic to perform this examination, and to edify . Therefore Perloff delineates the achievements, on all sides, of her family - their successful careers in Austria and elsewhere, their connections, their accomplishment throughout - but she also notes their failure to perceive and/or act within Austrian society to counter or prevent what was to come. Except for some foreign bank accounts that came in handy for the family after their escape in August of 1938, there seems to have been little understanding of the dangers inherent in the historical situation. If Grandfather Schuller was allowed into Italy because of a welcome from Mussolini to his former negotiator, it was not political foresight that made Schuller p

The Viennese-Jewish-Refugee Identity Crunch

Marjorie Perloff, the noted and prolific literary critic and comparativist, has written a thoughtful introspection about the intersection of her life with the complexities of the fading Vienna of the 20's and thirties. It's a dizzying array of contrasts and passages: not only her (and her family's) adjustment to American society of the 1940;s and 1950's, but the passage of Arnold Schoenberg, and the contrast of John Cage and Schoenberg. Perloff sheds a personal light on the ambivalences towards Jewishness and the imperatives of conversions. The photographs of girls in dirndls and her prestigious grandfather in morning suit are stunning reminders of the power of illustration and the evocation of period. Though this is memoiristic, Perloff remains a literary critic and there are efforts to re-address Adorno and Gombrich (for example)in terms of their own refugee pasts. Marjorie Perloff changed her name from Gabriele to Marjorie, her school from PS 7 to the fashionable Fieldston, her academic address from Catholic University ultimately to Stanford. The book is about what change means, how it reiterates, to someone whose life was abruptly forced, by the Anschluss, into a totally new mode of looking at the world and thinking about it.