[print for the Arca Project by Steven Scott]
More than fifteen years after his death, the writings of W.G. Sebald continue to inspire artists and exhibitions. The latest example is an announcement by the PayneShurvell gallery, whose next exhibition will be “The Arca Project: An Exhibition Inspired by the Work of W.G.Sebald.” According to their website, “The Arca Project is an exhibition consisting of 16 visual and 16 textual responses to one single image. Each response has been realised as a limited edition print, developed and made by Invisible Print Studio.” The exhibition is scheduled to open April 1 at a location about a half hour north of Ipswich in Suffolk, England (details at their website).
In the same way that The Rings of Saturn takes a single idea, a walking tour, to open up a wide range of ideas and conversations, The Arca Project sent 16 international artists and 16 writers exactly the same image and asked them to interpret the image as they wished (the only limitation was the uniform paper orientation and size). The recurrence of this image offers many interpretations. All are fictitious. It is a game of false interpretations. The idea is to have artists and writers in a Sebaldian mix of fact and fiction, documentary and reality. Read more
Make Yourself Happy is the fifth book of poetry by Eleni Sikelianos issued since 2001 by the fine Coffee House Press, just north of me in Minneapolis. I’ve been reading and rereading this compelling book for the past two weeks. Kudos to Coffee House Press for turning out a beautifully designed and produced book that is visually elegant and wonderful to hold.
As a poet, Sikelianos like to think big. Her books deal with topics like science, mythology, history, ecology, extinction, and even, as she writes in one poem sequence in this new book, “the history of man.” Previous books have included a nearly 190-page poem dedicated to California (The California Poem) and a book-length biography in poems (You Animal Machine (The Golden Greek)). Sikelianos is also one of a handful of poets who regularly uses photographs in her books, with four of her Coffee House Press books having imagery of one kind or another.
Make Yourself Happy consists of three long poem sequences, followed by two short stand-alone poems. “Make Yourself Happy” is comprised of 39 individual poems. Superficially, one might say that the sequence explores the many meanings of “happiness,” whether it’s eating croissants in Paris or simply being alive. But Sikelianos is after something far deeper and more complex than that. Slowly but surely, as this nearly 60-page poem sequence evolves, Sikelianos unravels the whole notion of happiness. Yes, there is a true, indomitable form of happiness that “baffles what’s trying to get in” to destroy it, but there are also false states of happiness that are driven by things as simple as the consumption of sugar-filled snacks or the indulgence in drugs like heroin. Heroin, violence, misery, and other decidedly unhappy themes are always lurking in these poems. In one poem, we see happiness used with decidedly Orwellian intent:
In the United Arab Emirates there is now a Ministry of Happiness
“You can be happy as long as you keep your mouth shut.
Springer Verlag and J.B Metzler have just announced a significant handbook on W.G. Sebald. W.G. Sebald-Handbuch: Leben – Werk – Wirkung, edited by Claudia Öhlschläger and Michael Niehaus. I don’t have any further information about the volume’s contents, beyond what can be found on the publisher’s website. The hardcover version is scheduled for release on March 22, 2017. An ebook is also forthcoming. Details here.
The volume contains contributions from a number of Sebald researchers, who deal with his entire body of work as a writer. Essays cover Sebald’s themes (trauma and memory, the natural history of destruction, the Holocaust, home, etc.) as well as the characteristics of his writing (intertextuality, the connection of text and image, etc.), his guiding motifs (melancholy, travel), and the presence of other media (photography, painting, architecture) in his texts. From the publisher’s website: Read more
from Valerie Constantino’s “Performance with Spyglass”
A new exhibition based on W.G. Sebald’s After Nature has just opened up in Sacramento, California. Here’s the information from the website of Sacramento State University:
Valerie Constantino presents “Crossing Sublime (After After Nature),” an exhibit of recent works that kicks off Sacramento State’s art shows for the spring semester. The show runs Jan. 23 to Feb. 22 at the Robert Else Gallery with a reception from 6 to 8 p.m. Friday, Jan. 27, and an artist talk from 4 to 5 p.m. Tuesday, Feb. 7. Regular gallery hours are noon to 4:30 p.m.
A lecturer at Sacramento State and American River College, Constantino has created new works inspired by W.G. Sebald’s narrative poem After Nature. The pieces consider the fluid crossings of time, matter, and being, and include photo-montages, collages, mixed media on paper, sculptural elements, writing, and an audio component. Sebald’s publisher describes his work as a “haunting vision of the waxing and waning tides of birth and devastation that lie behind and before us.” For Constantino, Sebald’s ruminations of the interrelatedness of materiality and transcendence substantiated analogous themes in her work.
“Sebald composed his text from a presumed kind of intimacy with two historically notable figures in tandem with a third voice, a variant of his own,” Constantino says. “My presentation alleges firsthand knowledge of its own selected subjects: artist Anne Ryan and cosmonaut Valentina Tereshkova.”
Constantino’s process of making art is one of personal expression and investigative research. “Such explorations are themselves worthwhile and may not necessarily convey an overarching message,” she says. “Because the work in this exhibition is diverse and based on interpretations of the lives and works of others, an appreciation for each individual work, as well as its conceptual relationships to the whole, would be ideal.”
I recently finished reading Dušan Šarotar’s book Panorama (Peter Owen World Series, 2016), which I plan to write about soon. It’s a book that was openly done in admiration of Sebald. Now, Šarotar has written the introduction to the first Slovenian translation of Sebald’s The Rings of Saturn, and his English-language publisher has posted a translation of Šarotar’s piece. Take a look.
The inventive and distinguished designer Peter Mendelsund is responsible for the new book covers on New Directions’ recent reissue of W.G. Sebald’s The Emigrants, Vertigo, and The Rings of Saturn. The most recent post on Mendelsund’s blog Thoughts is called “After Sebald.” In this wonderful piece, Mendelsund writes about how the intersection of his family memories and his reading and re-reading of Sebald contributed to the evolution of the new designs. Additionally, Mendelsund expounds his theory about The Emigrants. “I was, then, on my third reading of Sebald’s The Emigrants, and it began to occur to me in this re-reading, first as a hunch, and then as a gathering certitude, that this book was a kind of refracted, prismatic biography…comprising the actual life of Ludwig Wittgenstein.”
(Thanks for bringing this to my attention, Ulf!)
While we’re on the subject of New Directions, they have recently posted the contact sheet of the photo shoot that resulted in the portrait of Sebald by Jerry Bauer for the back flap of the dust jacket of their original hardcover edition of Vertigo. Bauer (1934-2010), often called “the author’s photographer,” made portraits of an endless list of writers including Simone de Beauvoir, Samuel Beckett, Jack Kerouac, Gore Vidal, Patricia Highsmith, Jhumpa Lahiri, and Joyce Carol Oates. Reputedly a very private person, no portrait, no obituary, no biography of Bauer seems to exist.
The first release from the new House Sparrow Press is a beautifully produced book/CD combo called A Sparrow’s Journey: John Berger Reads Andrey Platonov. The book contains a short story by Platonov (1899-1951) called “Love for the Motherland, or A Sparrow’s Journey: A Fairytale Happening,” along with a piece of writing by Berger that is obliquely about Platonov called “That Have Not Been Asked: Ten Dispatches about Endurance in Face of Walls,” a brief essay about Platonov’s story by Robert Chandler (who co-translated it with his wife Elizabeth), and an even briefer piece about discovering this previously untranslated story by Gareth Evans, editor of House Sparrow Press (among other things). Platonov’s story about a fiddler and a sparrow was written in 1936 in homage to Alexander Pushkin in advance of the one hundredth anniversary of his death in 1937.
A Sparrow’s Journey is one of those publications that remind you how wonderful it is to hold and read a book. Smartly designed and nicely printed on thick paper, handling this small volume is like holding a sparrow in your bare hands. The accompanying CD of a recording of Berger reading the Platonov story is housed in it’s own paper folder with artwork by Georgia Keeling. The story fits into 25 slim pages but Berger takes a full 44 minutes to read it in his quiet, luscious, and deliberate voice and I didn’t want the reading to come to an end. Somehow, Berger’s reading gave me insights into Platonov’s story that I never suspected were there. More information about A Sparrow’s Journey can be found at the publisher’s website.
As I was writing this yesterday, word spread that John Berger had died at the age of ninety. Do yourself a favor and get this publication and listen to his voice over and over.
WDR radio has produced a 15-minute program in memory of the 15th anniversary of W.G. Sebald’s death on December 14, 2001. You can listen here.
De Gruyter has just issued a new book edited by Uwe Schütte titled Über W.G. Sebald: Beiträge zu einem anderen Bild des Autors. According to an announcement by the German Department at Aston University where Schütte teaches:
The aim of the book is to provide a counterweight to the dominant strands in Sebald criticism by excluding over-researched topics like the novel Austerlitz and themes such as melancholia, Holocaust and memory.
Instead, the volume explores unpublished texts (such as Sebald’s early novel and his film script on the life and death of Immanuel Kant), revisits the critical discussions initiated by his polemical writings on Alfred Döblin and Alfred Andersch, and explores the Luftkrieg und Literatur debate. Another focus of the volume is philological groundwork, as it were, to establish the biographical and factual background to Sebald’s writings on his native region, the Allgäu, and to his prose volume Schwindel. Gefühle.
In addition to addressing often overlooked or ignored aspects of his writings, the specific approach of the volume was to include contributions from post-docs, Auslandsgermanisten and private scholars in an attempt to break free from the often tautological critical debates taking place within German academia.
The book’s authors include Sven Meyer, Melissa Etzler, Michael Hutchins, Uwe Schütte, Scott Bartsch, Peter Schmucker, Kay Wolfinger, Christoph Steker, Christian Hein, Ulrike Dronske, Markus Joch, Jakob Hayner, Axel Englund, Adrian Nathan West, Florian Radvan, and Ralf Jeutter. Further information on the book can be found at the De Gruyter website. The entire Table of Contents can be viewed online.
The complex constellation of historical event, individual experience, and the poietic presentation of both events and experiences is at the heart of Sebald’s work and reveals why his texts elude established genre traditions.
If I were to pick one book for the passionate Sebald reader who might want to dip a toe into serious Sebald scholarship or for the non-Sebald scholar wishing to get a clear sense of Sebald’s contribution to literature and history, I would direct you to Lynn L. Wolff’s fine book W.G. Sebald’s Hybrid Poetics: Literature as Historiography (De Gruyter). First published in 2014 as a hardcover with a price aimed at specialists and libraries, DeGruyter has now reissued the book in paperback at a price aimed for the rest of us – 19.95 (in both euros and dollars). The book is widely available from the publisher, Book Depository, and Amazon.
In her introduction, “Why W.G. Sebald,” Wolff gives a compact biography of his adult life and then discusses the “Sebald phenomenon” – the rise in films, exhibitions, artworks, blogs, and other forms of public and creative response to Sebald’s books. She provides a succinct, but wide-ranging overview of the critical secondary literature that has sprung up around Sebald in a variety of academic disciplines, as well as the seemingly endless academic frameworks through which scholars have tried to view Sebald’s work – postmemory, Freudianism, intertextuality, etc. Yet despite the onslaught of literature about Sebald’s works, Wolff senses that “there are significant gaps” in the way that scholars have examined “the specificity of his poetics” and it is her intention to focus on the mechanics of his writing and their implications. In doing so, she examines all of Sebald’s texts – critical writings, prose fiction, and poetry – with an “open perspective” and in “a methodologically non-dogmatic way.”
Central questions of my investigation are: What is particular about Sebald’s writing? How is he “translating” history into literature? How and where does he emphasize this process? Where are his sources apparent? Where does he cover them up?…These questions prove productive in initiating the reader’s engagement with not only the text but also the broader questions of memory, history, and authenticity.