Early life and education įink was born in Blackberry, Illinois on Decem to Reuben and Mary Elizabeth Fink.
Several lichens have been named in his honor, including the species Calosphaeria finkii, Dermatina finkii, Patellaria finkii, and the genus Finkia. He had a broad interest in fungi, particularly ascomycetes.
With a specialty in taxonomy, Fink’s contributions to the field of lichenology was in the realm of identifying the relationship, classification and distribution of lichens. Although educated and well-versed across the spectrum of botany, Fink focused his passion on lichenology, publishing more than 100 research papers, reviews, notes and monographs. His name was synonymous with the field of botany in the United States for more than 30 years. Better than any historian, we assert that Fink captured the rupture of time, which her readership now recognises as the Holocaust.For the American psychoanalyst, see Bruce Fink (psychoanalyst).īruce Fink (Decem– July 10, 1927) was an American lichenologist. This tri-optic lens confronts the reader with the layering of reality, coupled with a fragmentary, non-chronological presentation of events that actually happened in place and time. We consider the degree to which this three-fold literary perspective, which we have labelled the tri-optic lens, is reflective of the “worlds” Fink narrates: the pre-war, the Holocaust, and the post-war, worlds. We examine Fink’s ability to assume, simultaneously, a three-fold position of, narrator-participant, narrator-witness and, with the passage of years, narrator/writer-observer. In the second part of the article, we provide a detailed analysis of Fink’s (2002) Polish source text of the short story Eugenia, through the integrated prisms of content and literary devices. It provides an in-depth analysis of Ida Fink’s short story Eugenia, which appeared in the collection of short stories titled Odpływający Ogród: Opowiadania zebrane in 2002.1 In the first part of the article we provide a brief overview of Fink’s writing, and a succinct contextualisation of some of the problematics of translation. This article presents one example of this type of literature, perceived from a female view of the period. Literary memoirs are an important source in understanding the enormity of the Holocaust, of which noted memoirs include the writings of, for example, Primo Levi (1987) Aharon Appelfeld (1996) and Elie Wiesel (1986). Here, the alternation of the first-, third-, and occasionally also second-person narration is a textual representation of the psychical trauma as well as a metaphor of the ambivalent attitude towards Jews and the Holocaust in the post-war Polish culture. Finally, in the autobiographical novel by Hanna Krall The Subtenant (1985) the identity of the main character, who had lived through the Holocaust as a child, remains split into two conflicting personalities, thus showing far-reaching aftermath of the Shoah. In Ida Fink’s autobiographical novel The Journey (1990) extensive use of the third-person narration (interchanging with the first-person one) reflects the situation of someone hiding their identity during the Holocaust, forcing alien, non-Jewish identities on themselves as the only chance to survive. In Artur Sandauer’s writings they also reflect the author’s tendency to look at himself from without, the tendency stemming both from his situation of a Jew assimilated into Polish culture and of his critical approach towards what he considered the “inauthentic” identity of a Jew-Pole. These changes of perspective seem to constitute a textual representation of the complex Jewish-Polish (or Polish-Jewish) cultural and ethnic identities of the writers. Nevertheless, their autobiographical fiction shares an important common feature: they alternate the first- and third-person narration in the process of creating the author’s self-portrait. Artur Sandauer (1913–1989), Ida Fink (1921–2011) and Hanna Krall (born 1935) represent three literary generations of modern Polish-Jewish authors, three different paths of life and three various attitudes to writing.
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