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CULTURE

Letters show paternal side of literary giant Zweig

A series of previously unknown letters by literary great Stefan Zweig to a young man reveals a paternal side of the Austrian Jewish author concerned with the fate of Jews.

Letters show paternal side of literary giant Zweig
Stefan Zweig.

Israel's National Library, which has a Zweig archive comprised of letters and manuscripts, was recently contacted by 90-year-old Hannah Jacobson from Bat Yam, a coastal city in central Israel.

Jacobson had in her possession 26 letters and six postcards sent by Zweig, born on November 28, 1881, to her late stepfather Hans Rosenkranz over a 12-year correspondence.

The correspondence began in 1921 when Rosenkranz was 16 and Zweig was at a high point in his literary career, which eventually included works such as the novellas “Letter from an Unknown Woman” and “Amok” as well as his memoir “The World of Yesterday”.

The academic world has had almost “no access” to the Zweig letters to Rosenkranz until now, said Stefan Litt, the German-born archivist in charge of the Zweig collections.

“This is really a brand new finding, not just for researchers but for the whole public,” Litt told AFP.

The letters start with Zweig offering Rosenkranz advice on how to face life as a young Jewish man in Germany, Litt said.

“The Jew must be proud of his Judaism and glorify in it,” Zweig wrote, warning Rosenkranz however to “not brag about accomplishments” of the Jewish people.

Zweig was a pacifist who considered himself a citizen of the world and not a Zionist, or those who have worked toward the re-establishment of a Jewish homeland.

In another letter to Rosenkranz, he discouraged the young man from immigrating to British-mandate Palestine, where the state of Israel was later established in 1948, but told him to “learn languages”. “Who knows, maybe Germany and Europe will become so stifling that the free spirit will not be able to breathe within them,” Zweig wrote.

Zweig renaissance

At the same time, Zweig greatly admired Zionism visionary Theodor Herzl and praises the Austrian-Hungarian journalist in the third letter of the series to Rosenkranz.

Zweig had reason to admire Herzl for more than his politics, according to Litt. “Herzl was actually the one who enabled him (Zweig) to publish literary writings in the Neue Freie Presse,” the newspaper where Herzl served as literary editor, said Litt.

Beyond the content of the letters, their very existence says a lot about Zweig, according to Litt.

“What is striking here is that Zweig took his time to respond to that young guy, who was after all just 16 years old when he wrote to Zweig,” the archivist said.

The two met twice over their years of correspondence.

The letters evolve over the years to Zweig giving professional advice to Rosenkranz, who became a publisher in Germany before marrying and eventually immigrating to Palestine in 1933.

He fought in World War II, divorced, changed his name to Chai Ataron and worked as a journalist with Israeli newspaper Haaretz and the Jerusalem Post, before committing suicide in 1956.

As for Zweig, he would flee Europe after Hitler rose to power, eventually winding up in Brazil, where he committed suicide along with his wife in 1942. He died childless, shortly after finishing his memoir.

To Litt, the find is exciting not only to researchers but to the general public as well, with Zweig “experiencing right now a sort of renaissance”.

US director Wes Anderson partly based his 2014 film “The Grand Budapest Hotel” on Zweig's writings. This year's film “Stefan Zweig: Farewell to Europe” depicts the writer's time in exile.

The National Library is set to digitise the documents soon and upload them to its website, where they will be accessible to the public, said Litt.

Could there be other Zweig letters waiting to be discovered? “I hope so!” he said.

CULTURE

New songs mark sixth anniversary of French star Johnny Hallyday’s death

Fans of the late Johnny Hallyday, "the French Elvis Presley", will be able to commemorate the sixth anniversary of his death with two songs never released before.

New songs mark sixth anniversary of French star Johnny Hallyday's death

Hallyday, blessed with a powerful husky voice and seemingly boundless energy, died in December 2017, aged 74, of lung cancer after a long music and acting career.

After an estimated 110 million records sold during his lifetime – making him one of the world’s best-selling singers -Hallyday’s success has continued unabated beyond his death.

Almost half of his current listeners on Spotify are under the age of 35, according to the streaming service, and a posthumous greatest hits collection of “France’s favourite rock’n’roller”, whose real name was Jean-Philippe Leo
Smet, sold more than half a million copies.

The two new songs, Un cri (A cry) and Grave-moi le coeur (Engrave my heart), are featured on two albums published by different labels which also contain already-known hits in remastered or symphonic versions.

Un cri was written in 2017 by guitarist and producer Maxim Nucci – better known as Yodelice – who worked with Hallyday during the singer’s final years.

At the time Hallyday had just learned that his cancer had returned, and he “felt the need to make music outside the framework of an album,” Yodelice told reporters this week.

Hallyday recorded a demo version of the song, accompanied only by an acoustic blues guitar, but never brought it to full production.

Sensing the fans’ unbroken love for Hallyday, Yodelice decided to finish the job.

He separated the voice track from the guitar which he felt was too tame, and arranged a rockier, full-band accompaniment.

“It felt like I was playing with my buddy,” he said.

The second song, Grave-moi le coeur, is to be published in December under the artistic responsibility of another of the singer’s close collaborators, the arranger Yvan Cassar.

Hallyday recorded the song – a French version of Elvis’s Love Me Tender – with a view to performing it at a 1996 show in Las Vegas.

But in the end he did not play it live, opting instead for the original English-language version, and did not include it in any album.

“This may sound crazy, but the song was on a rehearsal tape that had never been digitalised,” Cassar told AFP.

The new songs are unlikely to be the last of new Hallyday tunes to delight fans, a source with knowledge of his work said. “There’s still a huge mass of recordings out there spanning his whole career,” the source said.

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