RESUMO
In "re-membering" the atrocities inflicted on her body and those of her comrades in the Nazi concentration camps, the French memoirist Charlotte Delbo avoids the linear time scheme and the metaphors for self that have traditionally defined autobiography as a genre. Instead, her depiction of time is circular, and the depiction of self and other is that of dismembered bodies and fragmented psyches. As conditions for the French political prisoners improved late in the war, numbed emotions thawed and Delbo's group began to recapture their pre-Auschwitz identity by reviving their pre-Auschwitz language. In recording testimonies garnered more than twenty years after the war, Delbo demonstrates that although the women were forever frozen in the time-space continuum of Auschwitz, they were also bonded into something larger than the sum of their once "dismembered selves."
