In her book Ariadne’s Thread: In Memory of W.G. Sebald, Philippa Comber wrote intriguingly of a screenplay that Sebald had written on Immanuel Kant, but which was never produced. Now, as a result of the efforts of Uwe Schütte, the script will be produced for radio by the German station WDR3 for airing on July 11. Jetzund kömpt die Nacht herbey: Ansichten aus dem Leben und Sterben des Immanuel Kant is the only extensive screenplay Sebald ever wrote and drafts of it remain in his archive in Marbach. The title of the screenplay, by the way, comes from the first line of a poem by Martin Opitz (1597-1639), which was set to music as a lovely song by Johann Nauwach around the same time.
Here’s the text of the press release from WDR3: Read more
The Polish journal Konteksty has just put out a giant issue devoted almost exclusively to “W.G. Sebald: Antropologia, literatura, fotografia.” Nearly 300 of the 408-page issue is dedicated to articles on all aspects of Sebald’s work. The journal is in Polish, but there is a six-page summary of all the articles in English. Even if you don’t read Polish, the many illustrations are fascinating by themselves. Below is the Table of Contents for the Sebald section, taken largely from the magazine itself, but with great help from my Polish contact Tomasz. The page numbers are given to provide the length of each essay. Read more
In recent months I have written about Kosmopolis, the annual “amplified literature festival” with live and online components put on by the Centre de Cultura Contemporànea de Barcelona. The 15th edition of Kosmopolis is being devoted to W.G. Sebald and there is plenty to read and see on its website, including a series of fascinating essays. But Kosmopolis15 also includes an exhibition called Sebald Variations, which is up through July 26 of this year. If you cannot make it to Barcelona, there is a very useful bilingual (Catalan and English) catalog available which can be purchased online. Here is a partial description of the exhibition, taken from its website:
The exhibition shows works by the following artists: Carlos Amorales, Mariana Castillo Deball, Simon Faithfull, Andrea Geyer, Pablo Helguera, Núria Güell, Susan Hiller, Josiah McElheny, Trevor Paglen, Fernando Sánchez Castillo, Taryn Simon, Jan Peter Tripp, Guido Van der Werve, Jeremy Wood. It will also include contributions from the following writers: Piedad Bonnett, Jorge Carrión, Julià de Jòdar, Reinaldo Laddaga, Valeria Luiselli.
The exhibition “Sebald Variations” seeks to introduce a critical reflection, and recount the different ways his work has influenced and engaged in a dialogue with the visual arts and literature since his passing in 2001. The exhibition examines the way several conceptual strategies for using images with texts, for historical reflection, for the unexpected juxtaposition of scenes and narrativity as a whole, not only appear in Sebald’s work, but have, on countless occasions, been directly or indirectly alluded to and even included in the works of a number of artists. The exhibition takes into account the different exhibitions, publications and artworks associated with Sebald that have been produced since 2001, or which enter into a dialogue with his books, in order to look at his ongoing impact on the artistic endeavours of today from a new perspective.
The project has been conceived as a visual and textual essay that brings together the voice of the author and other creators working in different fields. It pursues Sebald, comments on him, prolongs him and draws him out of himself in order to create new proposals in his company.
I was only a few pages into Anne Garréta’s novel Sphinx when I became aware that something was mildly unsettling, but I didn’t know what it could be. It took another twenty or thirty pages before it dawned on me. I was having trouble pinning something down about the unnamed narrator and the main character – known simply as A*** – with whom the narrator seemed to be falling in love. Neither had been assigned a gender. There were no revealing pronouns or any other linguistic giveaways to indicate if the narrator or A*** were masculine or feminine. There was definitely a lot of flesh, however. The narrator worked as a DJ and A*** as an exotic dancer in a Parisian cabaret. Racially, one is black and the other is white. But none of the increasingly eroticized descriptions were providing a glimpse of gender. Read more
Every so often, driven by an inexplicable yearning, I go straight to one of my bookshelves and pull down a book I haven’t read in years. Last week, the book I seemed to need was Carlos Fuentes’ 1978 novel The Hydra Head (Farrar Straus Giroux). I had vague recollections of a complex and sinister spy story that involved Mexican petro-politics and the Arab-Israeli conflict. But what I remembered more distinctly from my reading and re-reading of that book some thirty years ago was an abrupt and almost shocking shift from third-person narrative to first-person. I was curious to read the book again and see how I reacted this time around.
The political backdrop of The Hydra Head is the aftermath of the 1973 Yom Kippur War and the 1973 oil crisis caused by the oil embargo imposed by the Organization of Arab Oil Exporting Countries. Fuentes framed his book around two distinctive and contrasting literatures: the plays of Shakespeare and the noir novels and films of the 19302 and 40s. Tellingly, the book is dedicated to the memory of Conrad Veldt, Sydney Greenstreet, Peter Lorre, and Claude Rains – four of the more compromised characters in the 1942 classic movies Casablanca.- and not to the film’s triumphant but tragic heroes Ingrid Bergman and Humphrey Bogart. Everybody in The Hydra Head is compromised and duplicitous in their own way, whether in their politics, their marital infidelities, their allegiances, or their abuse of power, privilege and class – including the main character Felix Maldonado, a former specialist in Mexico’s petroleum industry who is now a mid-level bureaucrat in the Office of Economic Development. Before long, needless to say, a naively over-confident Maldonado (his name means, more or less, “ill-favored) is swept up in a ever-shifting plot full of violence and intrigue. Portions of the dialogue are written in a pastiche of “tough-guy” conversation right out of Dashiell Hammett or Raymond Chandler or Casablanca, and it is clear that, for Fuentes, Mexico City seemed an ideal 1970s counterpart to the seedy ambitions of wartime Casablanca. But when Maldonado confers briefly on the telephone with his handler, the coded language they speak is a series of quotations from Shakespeare. Read more
W.G. Sebald’s Eyeglasses, from his archive at Deutsches Literaturarchivs Marbach
Kosmopolis15 continues to post new material to their Sebaldiana website. Articles recently added include:
“The Clocks of Austerlitz” by Graciela Speranza. “Two clocks mark our first encounter with Jacques Austerlitz, the protagonist of W.G. Sebald’s final novel which was launched into the new millennium in 2001 like a sombre coda to the history of the 21st century and a profession of faith in the art of the 21st century. A narrator, who is hard to distinguish from Sebald himself, approaches Austerlitz in Antwerp Centraal Station, intrigued by one of the few travellers who isn’t staring apathetically into space in the Salle des pas perdus, but paying close attention to the station’s monumental architecture while making sketches, notes and taking photographs.”
“Conversation between Bruno Galinda and Iain Sinclair.” “Born in Wales in 1943, a year before Sebald, Iain Sinclair has written a series of books exploring the themes and territories that are now considered the cornerstones of Sebald’s project. Years before the author of Austerlitz reached the height of his popularity, Sinclair had already brought an encyclopaedic breadth to some of his finest books, together with a concern to recover forgotten history and the aesthetic of the flâneur in the city. In the short conversation we are presenting here, the writer and journalist Bruno Galindo takes Sinclair’s work as a starting point in order to follow the traces of W.G. Sebald in one of the most interesting examples of English prose of the past few decades.”
“On Sebald’s Radicalism” by Uwe Schütte. “At the very core of Sebald’s melancholic Weltanschauung [worldview] is the fundamentally bleak insight that destruction – and not creation – is the organising principle of nature. Like Gnostics, he viewed the world as a process of decay, and he saw humanity as a helpless subject of the destructive machinations that govern human history. Wars, atrocities, and genocides of all kind are not exceptions but symptoms and indicators of an all-embracing Natural History of Destruction that crushes human aspirations in the name of a secure future, to create a better society or to build a world without war and misery.”
When he went out the next morning and headed for the square, he knew, even before he looked up, that he was no longer there: he had been replaced by his legend. A legend without beginning or end, a narrative as yet illegible, but therefore almost more credible than him, than the banal mediocrity of his impoverished existence.
Written between November 1929 and February 1931, The Game for Real (Hra Doopravdy in its original Czech) is a marvelously strange and inventive novel whose narrator is suspicious that life might be nothing more than the absurd theater of his own imagination. Deeply anxious about language and certain that he is guilty of something, the book’s narrator is nameless – “and rightly so, since his name is Shame.” Read more
A film adaptation of W.G. Sebald’s novel Austerlitz premiered on the opening night at the Centre Pompidou’s Cinéma du Reél festival earlier this week. Directed by the Czech-born French director Stan Neumann and starring Denis Lavant as Jacques Austerlitz, the 90-minute film is described as “not so much a filmed book as it is a film about a book, breaking down the walls that divide documentary and fiction, just as Sebald blurred the lines between the two in his writing.” A 2:44 excerpt from the film can be viewed at the website of the Fondation de la Mémoire de la Shoah. (Be prepared to endure an annoying 30-second advertisement. Why would a foundation website link to advertising anyway?)
In Tess Jaray’s new book The Blue Cupboard (Royal Academy of Arts, 2014), there is a tantalizing illustration that reproduces the first page of an undated letter written by W.G. Sebald to Jaray, with whom he had collaborated on the 2001 book For Years Now, which paired his brief poems with her artwork. The letter, written on a curiously narrow and long piece of paper, makes me wish for Sebald’s letters to be collected and published one day. Here is my transcription of the visible part of the letter:
Dear Tess, Your letter did not come too soon by any means. I was much amused by your likening the company of the formidable Musil to the sensation of having a large rock in your room. When I first read The Man Without Qualities, in the winter of 1966/67, that was pretty much how I felt about it. There is this anecdote about Musil & Joseph Roth (a great favourite of mine): the two had always studiously avoided each other until one day in a Vienna coffeehouse, a mutual friend brought them together. Well, what do you think, the friend said to Roth afterwards. Well, said Roth, he speaks like an Austrian but he thinks like a German. [Perhaps that explains his intransigence.]