August 10, 2011
Over at the Samuel Beckett Digital Manuscript Project website, the future possibilities for literary research are being expanded. A collaborative project of the Centre for Manuscript Genetics (University of Antwerp), the Beckett International Foundation (University of Reading), the Harry Ransom Humanities Research Center (Austin, Texas) and the Estate of Samuel Beckett, the website significantly improves the digital tools for scholarship into Beckett’s manuscripts, bringing the results (at least theoretically) to everyone. Here’s how the website describes the aims of the project:
The Beckett Digital Manuscript Project aims to contribute to the study of Beckett’s works in various ways: by enabling readers to discover new documents and see how the dispersed manuscripts of different holding libraries interrelate within the context of a work’s genesis in its entirety; by increasing the accessibility of the manuscripts with searchable transcriptions in an updatable digital archive; by highlighting the interpretive relevance of intertextual references that can be found in the manuscripts. The Project may also enhance the preservation of the physical documents as users will be able to work with digital facsimiles.
The purpose of the Beckett Digital Manuscript Project is to reunite the manuscripts of Samuel Beckett’s works in a digital way, and to facilitate genetic research: the project brings together digital facsimiles of documents that are now preserved in different holding libraries, and adds transcriptions of Beckett’s manuscripts, tools for bilingual and genetic version comparison, a search engine, and an analysis of the textual genesis of his works. The work on this project proceeds in a modular way. Once the electronic genetic edition of a work is completed, the accompanying analysis of the work’s genesis is published in print with a selection of facsimile images. – Dirk Van Hulle & Mark Nixon
I hope this is the wave of the future and that more libraries and estates will enter into projects such as this one. Unfortunately, the Beckett project limits access to those willing to pay annual fees starting at €25 and going upward. I’d love to see something like a day- or week-pass offered. Nevertheless, I encourage Vertigo readers to go check out the partially-locked, albeit still impressive demo. If the demo leaves you asking still more questions, read the Manual and the Technical Documentation for a much more detailed sense of how the tools work.
Equally impressive is the project’s dedication to transparency, seen not only in the thorough documentation noted above, but also in the excellent section on Editorial Principles.
[By the way, I'll be taking a short break from my ongoing coverage of the new book Saturn's Moons: W.G. Sebald - A Handbook. I'm headed out of town momentarily and have decided that a tome weighing in at 1.495 kilograms will not be in my carry-on luggage. More in a week or so.]
February 29, 2008
Chris Marker’s 1982 Sans Soleil is a deliberately elusive film that masquerades as a documentary, much as W.G. Sebald’s digressive tales pretend to be non-fiction. Without even attempting to summarize this decidedly non-linear film, suffice it to say that it consists of a woman’s voice “reading” letters that have been sent to her by a cameraman or filmmaker (Marker’s alter-ego) who travels to Iceland, Japan, Guinea-Bissau, Cape Verde, Okinawa, and San Francisco. But the real map of San Soleil‘s territory covers history, memory, anthropology, folklore, time… all topics that are common to Sebald’s books as well. (At markertext you can find a transcription of the full narration of Sans Soleil.)
Marker and Sebald are both pessimistic about the trajectory of civilization and the seeming inability of human nature to overcome its own destructive nature, yet neither manages to be nihilistic. What interests me is that they both gnaw away at the prospect of some kind of redemption, even if it’s against their better judgment. Sans Soleil begins somewhat optimistically with the narrator saying “The first image he told me about was of three children on a road in Iceland, in 1965. He said that for him it was the image of happiness.” However, at the end of the film we learn that the village in the background of this photograph (on the Icelandic island of Heimaey) was buried by a volcanic eruption. Nature condemns optimism, it seems.
“How far is it from the point where we find ourselves today back to the late eighteenth century, when the hope that mankind could improve and learn was inscribed in handsomely formed letters in our philosophical firmament?” Sebald asks in his essay An Attempt at Restitution. As we know, Sebald despaired constantly only to have some chance meeting or coincidence give him a restorative burst of energy and renew his boundless sense of curiosity. When he posed the question “So what is literature good for?” he made his now often-quoted statement that “only in literature, however, can there be an attempt at restitution over and above the mere recital of facts, and over and above scholarship.” I’m inclined to think there is an emphasis on the verb attempt.
Marker despairs, too. “We do not remember. We re-write memory much as history is written.” Faced with “the amnesia of the future that history distributes through mercy or calculation to those it recruits,” the in Sans Soleil is a Diogenes searching for something authentic. Marker returns several times to a film clip of a woman in Guinea-Bissau. The narrator recites “I see her, she saw me, she knows that I see her, she drops me her glance, but just at an angle where it is still possible to act as though it was not addressed to me, and at the end the real glance, straightforward, that lasted a twenty-fourth of a second, the length of a film frame.” The real glance. Straightforward. This fragile one-twenty fourth of a second momentarily undermines the cynicism that otherwise permeates the film. This human connection may not be enough to save the world from destruction, it may not even offer hope, but, if nothing else, it seems to be a reason to continue.
So even as Marker and Sebald catalog the ways in which history and nature defeat every attempt to be hopeful, both cling to an ethical practice in their art as a path toward a personal act restitution. Is this just a quixotic attempt to resist the inevitable? It’s hard not to think of the final pages of Samuel Beckett’s The Unnameable and its unnerving ending:
I can’t go on, you must go on, I’ll go on, you must say words, as long as there are any, until they find me, until they say me, strange pain, strange sin, you must go on, perhaps it’s done already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don’t know, I’ll never know, in the silence you never know, you must go on, I can’t go on, I’ll go on.