The Berlin-based publisher De Gruyter is releasing an affordable paperback edition of Lynn Wolff’s W.G. Sebald’s Hybrid Poetics: Literature as Historiography, which first came out two years ago. With the hardcover version currently priced at €89.95 (or $126) the paperback price of 19.95 (in both euros and dollars) is welcome news. It comes with high praise from Richard Sheppard, who wrote in Journal of European Studies:
Wolff’s book does not, however, simply challenge the interested reader to think about Sebald’s literary work in a meta-representational way, it also shows the academic reader the advantages of familiarity with his critical work, the benefits of wrestling critically with – as opposed to just paraphrasing – the relevant secondary literature, the insights that come from the careful analysis of manuscript sources, and the creative understanding that derives from close reading, untrammelled by theoretical ideas for which Sebald had little or no time. Wolff has been publishing carefully researched, insightful and authoritative work on Sebald since 2007, but the originality and depth of her excellent new book will raise her into the top echelon of those younger scholars who have made Sebald’s life and work one of their primary preoccupations.
The edition should be available any day now.
And Manchester University Press has also released an affordable paperback edition of A Literature of Restitution: Critical Essays on W.G. Sebald priced at £17.99 and $29.95 (the 2013 hardcover edition is $99.99). According to Lynn Wolff’s review of this title, “The volume’s organizing principle, the question of restitution, lends this book a much clearer profile than other edited volumes on Sebald. Taken together, the contributions provide readers with an excellent overview of Sebald’s oeuvre…The variety of perspectives from both within and beyond German Studies further sets this volume apart from other publications by offering fresh insights and new contexts within which to consider Sebald’s works.” The paperback version is already widely available. Note: Manchester University Press is currently offering a 50% discount on all titles (although the sale is valid only in the UK and Europe). No word on when the sale ends.
I’m looking forward to reviewing both titles later this summer.
While recently recovering from surgery, I found myself needing something to read that was different from my usual diet. I looked at my stack of unread books with new eyes and lit upon a volume that had I had been passing over for weeks as simply too quirky. But now I was desperately in the mood for something off-beat.
A few months earlier, a long-time Vertigo reader had sent me a book he thought I might enjoy called I Cycled into the Arctic Circle: A Peregrination by James Duthie and Matt Hulse, published by the Saltire Society, Scotland in 2015. As it turns out, it’s a wondrous and utterly uncategorizable book that I read in a single sitting. In 1951, a deaf Scotsman named James Duthie decided to bicycle to Morocco. He headed south and crossed the Channel into France, where he suddenly veered east into Belgium, Holland, and Germany, before turning north into Denmark, Sweden, and Norway, ultimately reaching the Arctic Circle. A few years later, Duthie wrote a short book about his three-month trip, which he apparently sold door to door to fund future bicycle trips. Since then, Duthie’s I Cycled into the Arctic Circle has become a fairly rare book and a bit of a cult item that strikes me as the literary equivalent of outsider art. (While it’s a book of travel writing, it’s definitely not Patrick Leigh Fermor.) Duthie comes off as affable, intensely curious, and eternally optimistic – the kid of guy who will talk with anyone, anywhere. Read more
I was taken to hospital in Norwich in a state of almost total immobility.
W.G. Sebald. The Rings of Saturn.
A little more than a week ago, I suddenly found myself unable to stand or walk without immense pain. Somehow I managed to hobble to the car for the ride to the emergency room, where the triage began. “Have you been out of the country recently? Have you…?” Within a few minutes a sonogram and its operator appeared and she began scanning. The operator and the doctor hovered and pointed. “Gall stones,” one of them declared. Five days later I came home with no gall bladder, but four sore incisions from the laparoscopic procedure. All this is to say that I am taking a bit of medical leave from Vertigo – probably just another week or so. I am returning to normal health pretty well, but it’s mysteriously exhausting at times – and I’m craving pure entertainment at the moment. I’m reading Ann Cleeves’ Shetland Island quartet of mysteries – apparently in reverse order. I’ve got to get well by early June, because I have a ticket to see Argentina play Jamaica in the Copa America in Chicago. Lionel Messi!
My hospital window, I am happy to report, was much larger than the one Sebald’s shows us in The Rings of Saturn, but the view was no better.
In Young Once, we meet Louis and Odile, married with children, living comfortably in Switzerland but feeling vaguely lost. They are only thirty-five years old, yet it feels like they have nothing more to expect from life. “Could anything new happen to them at thirty-five?” One day, while downtown, Louis hears the voice of a singer on a television program drifting out from open café windows. He can’t understand the words. A warm wind starts blowing. The first drops of rain appear. And just like that we are taken back to Louis at the age of nineteen, just demobilized from the French army. Louis immediately falls in with a man who promises to get him a job in Paris. The job turns out to be sitting at a desk at nights in a garage where men deliver cars, leaving them for someone else to drive them away later. Louis never does get an explanation of what is going on, but we suspect something illicit. Louis first meets Odile in a train station and before long they begin to live together, although they fail to display much that can be considered tender or loving. They are two aimless souls who seem to prefer letting other people make decisions for them. At nineteen, the can’t envision the future. “Lying down, looking at the ceiling, [Louis] would think about the future, or in other words about nothing.” Read more