In an interview in the current issue of The Paris Review, Ali Smith recounts going to a 1998 interview for a fellowship at the University of East Anglia.
I got met at the office by a man named Max—a very nice German man who took me along the corridor to the interview and who sat in as an onlooker. That night, I got home, I went to bed—and I woke up in the middle of the night, going, Oh dear God —was that Sebald?
It was. Smith got the fellowship and got to know Sebald a bit.
What I know, even from that tangent, is that he was an incredibly charismatic figure, he was like no one I’ve ever met. Plus, not many people know that he was funny, funny, funny. He was laugh-out loud droll. We haven’t yet begun to understand his rigor, as a writer.
On reading Sebald:
Austerlitz [is] the most uneasy novel I’ve ever read, a novel uneasy with the notion of being a novel. I read all of Sebald’s books again after his death, and it was very different from reading them when he was alive.He is utterly despairing, particularly in The Rings of Saturn. It’s terrible, beautiful, and there’s no hope. And then you get to Austerlitz, and in Austerlitz despair is ultimately a fiction, too.
I’m a big fan of the The Paris Review interviews, but the interviews with Ali Smith and Percival Everett in this summer’s issue (#221) are terrific. They are two smart writers. Kudos to the interviewers – Justin Taylor and Adam Begley.
Peter Mendelsund cover design for The Emigrants, (New Directions, 2016)
In the current issue of The New Yorker (June 5 & 12, 2017), James Wood writes at length about W.G. Sebald. It’s a nice, modestly insightful overview of Sebald’s four books of prose fiction, interspersed with bits and pieces of Sebald’s biography, but its basically a rehash of several essays Wood has previously written about Sebald. Perhaps in an effort to find some new way to approach the writer, Wood decides this time to examine “W.G. Sebald, Humorist.” Wood has to work hard to uncover examples of Sebald’s dry, ironical humor, which is more apparent in interviews than in his prose fiction. It’s not at all clear what prompted Wood to write about Sebald now, although he does reference the “handsome new editions of Vertigo, The Emigrants, and The Rings of Saturn” designed by Peter Mendelsund and published by New Directions a full year ago (editions, unfortunately, that did nothing except package the old editions in new covers).
There will be a symposium “Po Sebaldzie” (“After Sebald) at the Goethe Institute in Warsaw on June 10, 2017. Everything I can find is in Polish. There is a website and a Facebook page.
Finally, H.G. Adler’s massive scholarly book Theresienstadt 1941-1945: The Face of a Coerced Community has been published in an English translation for the first time, thanks to a collaborative effort between the United States Holocaust Memorial Museum and the Terezin Publishing Project. There is more information and a complete Table of Contents here. The translator is Amy Loewenhaar-Blauweiss. Unfortunately it’s not cheap! I’ve written about Adler a number of times in recent years.
The City University of New York has just put up an excellent video of a distinguished roundtable on the work of W.G. Sebald, which was held just a few weeks ago on May 6, 2017. It’s an intriguing and revealing discussion that is an hour and 22 minutes in length. At about the 40-minute point, the group talks about Sebald’s use of images in his books. The roundtable was part of the “Fictions of History” conference.
In this roundtable, Mark Anderson (Professor of German and Comparative Literature, Columbia University), Daniel Kehlmann (Novelist and Fellow, The New York Public Library), and Judith Ryan (Robert K. and Dale J. Weary Professor of German and Comparative Literature, Harvard University) discuss the relationship between fiction and history in W.G. Sebald’s work. Sebald situates his work in the gray zone between fiction and history, positioning himself with both proximity and distance to his subject matter, alternating between first-hand victim and third-hand witness. At the center of Sebald’s writing is the taboo of the “wrongful trespass:” a fear that either he will falsely identify with events he himself has not experienced or that his objectivity will dilute the emotional impact of what he describes. This roundtable, moderated by André Aciman (Distinguished Professor, The Graduate Center CUNY) examines how Sebald responds to this concern by creating works that straddle the boundary between fact and fiction in order to portray and grapple with historical events. Presented on May 6, 2017, with the Critical Theory Certificate Program, the Writers’ Institute, and the Center for the Humanities.
I’m very grateful to a Vertigo reader who called this video to my attention.
“…retreat seemed only another cowardly act I’d have to shoulder on my journey. So I pressed ahead.”
Two Lines Press describes the books by Brazilian writer João Gilberto Noll, who died this March at the age of 70, as “reminiscent of the films of David Lynch,” which seems about as apt a description as I can think of. The two books that have been translated into English so far —Quiet Creature on the Corner and Atlantic Hotel — are strange, subversive, and compelling that share a sense of bleakness, violence, and anomie.
In Atlantic Hotel, which comes out this month, Noll’s nameless narrator wanders aimlessly across parts of Brazil. He’s rather like a human pinball, making decisions about his next direction abruptly, without forethought. He often says the first thing that comes to his head, which means he often seems to be lying. He has casual sex within minutes of meeting women. We learn almost nothing about his past or about his motivations. He might or might not have once been an actor on a TV soap opera, but now he gives his occupation as “unoccupied.” He is both running from something and searching for something, but he (and we) never know what. Read more
A call for papers is making the rounds:
Call for Papers
Beyond Sebald: New Trajectories in Sebald Studies
A One-Day Postgraduate Workshop
University of Leeds, Tuesday 2nd May 2017, 12:30–16:30
We invite you to join us for a one-day postgraduate workshop at the University of Leeds to discuss the opportunities and challenges of studying W. G. Sebald today. We are particularly interested in two interrelated questions: first, what are the new directions for Sebald scholarship? And second, how do contemporary writers, artists, and filmmakers respond to or challenge the “Sebaldian”? Read more
“I feel like a character in a novel written by myself who runs into a character in a novel written by himself.”
I’m not sure how a book as finely written and original as Mark Henshaw’s Out of the Line of Fire stayed under the radar for nearly three decades, but my guess is that it has something to do with the fact that the author is Australian. How could I resist a novel that opens with the purloined line: “You are about to begin reading Italo Calvino’s new novel, If on a winter’s night a traveler” and then invokes the name of Walter Abish, one of my favorite writers?
First published in 1988, then reissued in 2014 by Melbourne’s Text Publishing, Out of the Line of Fire reads like a compelling mystery, except that it is laced with bite-sized doses of philosophy drawn from the likes of Kant, Husserl, Hegel, and Wittgenstein. Most of the quotations that Henshaw extracts from their writings deal with the broad question of how language works and how we believe we experience the world, all of which he uses to raise questions about the nature of literature itself (and, by extension, the nature of the book we are reading). Read more
[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