As part of the Internationales Literaturfestival Berlin this year, Markus Joch and Uwe Schütte will talk about W.G. Sebald on Tuesday, September 12 at 19:00 at the Institut Français. Tickets here.
The full program (in German or in English) can be found here. The long list of invited guests is impressive and includes people such as Edward Snowden (via Skype), artist Christian Boltanski, László Krasznahorkai, Yoko Tawada, Yasmina Reza, mystery writer Donna Leon (one of my favorites), Salman Rushdie, and Hari Kunzru. Several other programs caught my attention:
Thursday September 7 at 22:30 is a screening of a new film about James Baldwin and race called I Am Not Your Negro, which I have seen and highly recommend.
Saturday September 9 at 15:00 is a meeting for people wishing to join book clubs; two of the books under consideration are Sebald’s Austerlitz and Peter Weiss’s The Aesthetics of Resistance.
Sunday September 10 is devoted to graphic novels.
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.
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
[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
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.
On September 9 of this year, a symposium on “The Poetry of W.G. Sebald” was held at Stockholm University under the organization of Axel Englund. The participants were:
Axel Englund: “W.G. Sebald as poet: an introduction”
Iain Galbraith: “’A cover / of marbled faux / leather’: the uses of surface in the poetry of W.G. Sebald”
Adrian Nathan West: “Coincidences without antecedents, histories without verification”
Uwe Schütte (with Melissa Etzler): “On W.G. Sebald’s unpublished poetry”
Sven Meyer: “Our brothers the ducks: Sebald’s birds”
Thankfully, translator and writer Adrian Nathan West has posted on his blog (which I highly-recommend) a transcript of his presentation.
Ukrainian film director Sergei Loznitsa’s newest release is a 94-minute film called Austerlitz, which premiered in Venice earlier this year. According to a review in the New York Times, “Mr. Loznitsa varied between calling his work an adaptation and a ‘variation'” of Sebald’s novel of the same name. Austerlitz recently had its North American premiere at the Toronto International Film Festival, where Andréa Picard has written a short piece about the film:
What happens when the memorial and the museological meet — when places of death and destruction are transformed into tourist destinations? Sergei Loznitsa’s new film Austerlitz (which takes its title from, and enters into cryptic and compelling dialogue with, the final masterpiece by the great novelist W.G. Sebald) is a stark yet rich and complex portrait of people visiting the grounds of former Nazi extermination camps, and a sometimes sardonic study of the relationship (or the clash) between contemporary culture and the sanctity of the site…
Here’s the link to a short trailer for the film.
Dr. Ralp Schock, literary editor of the Saarland Radio, will host a two and a half hour radio program about W.G. Sebald on Tuesday January 26 starting at 20:00 (German time). Titled “Ein Themenabend mit und über W. G. Sebald,” the program on station SR-2 will include readings, discussions, and recollections of Sebald from friends and colleagues. Here is the link to the program’s s web page. The program is designed to air on the seventy-first anniversary of the liberation of Auschwitz. Some of the individuals rumored to be participating in the program include author and musicologist Wolfgang Schlüter, Sebald’s publisher at the German firm Carl Hanser Verlag Michael Krüger, artist Jan Peter Tripp, and Dr. Uwe Schütte, who is reader in German at Aston University.
The Literarisches Zentrum in Göttingen, Germany will host a program led by two Sebald experts – Sven Meyer und Uwe Schütte – on Monday, December 14, 2015. The program is called “W.G. Sebald: Zwischen Kanon und Außenseitertum” (Between Canon and Outsider). Tickets are required and may be purchased online. Here is the description of the program from the website:
Acht zahlende Gäste waren anwesend, so will es zumindest die Legende, als W.G. Sebald 2001 im Literarischen Zentrum aus Austerlitz las. Als er am 14. Dezember desselben Jahres bei einem Autounfall ums Leben kam, war der Autor gerade zu Weltruhm gelangt. Selten ist eine so rasch vollzogene Kanonisierung zu beobachten gewesen wie die Sebalds in den 2000ern. Aber zugleich galt der gebürtige Allgäuer und Literaturprofessor im englischen Norwich immer als Außenseiter des deutschen Literaturbetriebs.
An seinem Todestag laden wir zu einem Rundgang durch sein Werk ein, um dem insularen Phänomen Sebald auf die Spur zu kommen, geleitet von zwei Kennern: Uwe Schütte, Autor mehrere Bücher zu Sebald, hat seinerzeit bei ihm promoviert und Sven Meyer ist der Herausgeber zweier Bände – u. a. der Lyrik – aus dem Nachlass.
Based in Brooklyn, The Deconstructive Theatre Project has announced that its upcoming project is Searching for Sebald. Here’s the description of the project from their website:
Suggested by the life and writings of “memory’s Einstein” W.G. “Max” Sebald, The Deconstructive Theatre Project’s newest hybrid media experience, Searching for Sebald, is a fractured ghost story that excavates the hidden spaces lurking between geography and time, the imagined and the real, and the language in a book and the cinema in your mind. An innovative and striking collision of live movie making, analogue film reels, live Foley soundscapes, and animation, Searching for Sebald is the second in the company’s series of projects exploring the neuroscience of creativity through the construction of vivid and emotional theatrical events.
The group describes itself as an “ensemble creative laboratory that exists to devise and premiere new multidisciplinary work… at the intersection of live performance, neuroscience, and interactive technology.” Two preview performances showing Searching for Sebald as a work in progress are scheduled for October 21 & 22, 2015, with the world premiere scheduled for the spring of 2016. The previews will be held at . More details here. They have posted a very brief trailer on Vimeo.
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