A new multi-CD audio set of W.G. Sebald’s Austerlitz has just been issued. The entire book is read by Michael Krüger, Sebald’s long-time friend and publisher. Plus, there is a section of Austerlitz read by Sebald, which (I am guessing) is taken from his 2001 reading at the Unterberg Poetry Center of New York’s 92 Street Y, which can be seen on YouTube. Krüger’s reading of Sebald’s final novel gets very good reviews on Amazon.de. There is also a related six-minute podcast reviewing the new CD set that can be heard (and downloaded) at the website of WDR3. From 1968 to 2013, Krüger worked at Carl Hanser Verlag, which was Sebald’s German publisher from 1998 until 2008.
In Europe, the CD set is available from multiple sources that have links on the Random House website. In the US, the set can be purchased from multiple sources through Amazon. The list price is surprising affordable at €29,99 in Europe, with prices starting at $35 in the US. (It’s not clear to me how many CDs are in the set. The box obviously says there are seven CDs, but some of the publicity materials and reviews say there are nine CDs.)
“only the journey to oneself is important.”
On a mild, early spring Sunday in February 1950, the writer Robert Walser and his friend Carl Seelig were eating in a pastry shop in St. Gallen, Switzerland. “Robert rolls a misshapen cigarette,” Seelig writes. “Since it isn’t well tamped, it flares a bit. The couple next to us begins to giggle; they apparently take Robert for an unworldly farmer. He tells me that now he sorts and unravels twine for the post office. But he is content with the work. He simply takes what comes.” This episode delights me no end, in part because it occurred on the very day on which I was born, in part because it epitomizes the spirit of Robert Walser.
As we learn from Carl Selig’s book Walks with Walser, Walser was a man who was both simple and complex. A writer of tremendous invention and honesty, called by Susan Sontag “a Paul Klee in prose” and “the missing link between Kleist and Kafka,” Walser was content, if not delighted, to spend the final thirty-six or so years of his life in Swiss mental institutions, far from the big cities and the literary and artistic circles he had enjoyed in his youth. Much of what we know about Walser’s life we know because of this slim book written by Seelig and first published in 1957 as Wanderungen mit Robert Walser. Read more
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