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Posts from the ‘Sebald’s Misc. Writings’ Category

Sebald’s Screenplay on Kant Heads to Radio

Kant Stamp

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:

Jetzund kömpt die Nacht herbey: Ansichten aus dem Leben und Sterben des Immanuel Kant

Es ist das einzige Drehbuch, das W.G. Sebald geschrieben hat. Aber dieser Film wurde nie gedreht, das Skript bisher nicht veröffentlicht. Jetzund kömpt die Nacht herbey ist die Übersetzung eines imaginären Films in ein Hörspiel.

Sebald, Meister der dokumentarischen Fiktion, wirft Schlaglichter auf das Leben des Philosophen Immanuel Kant. Es ist ein Blick hinter die Kulissen – die Kulissen des großen Werks, der großen Gedanken und ihrer Zeitlosigkeit. Denn Kant, Inbegriff des kritischen Denkens und der reinen Vernunft, kämpft in Sebalds Drehbuch zeit seines Lebens gegen die eigene Vergänglichkeit. „Was ist der Mensch?“ fragte Kant. “Jetzund kömpt die Nacht herbey” erzählt von dem Menschen, an dem seine eigene Natur ihren Prozess macht: Ansichten aus dem Leben und Sterben des Immanuel Kant. Dabei wird unter Sebalds Blick die Schwäche und die Angst vor dem körperlichen Verfall gerade zur treibenden Kraft des Denkens.

Von: W.G. Sebald Regie: Claudia Johanna Leist Produktion: WDR 2015/53’ Redaktion: Isabel Platthaus

SA / 11. Juli / 15:05 – 16:00

SA / 11. Juli / 23:05 – 24.00

WDR 3 Hörspiel

If you want to read more about Sebald’s film script,  which was probably written around 1979-1981, take a look at Michael D. Hutchins’ 2011 dissertation Tikkun: W.G. Sebald’s Melancholy Messianism, (readable online) which discusses the topic at length on pages 144-160. Hutchins suggests that Sebald was less interested in Kant’s philosophy than in his death and that “a look at five central scenes reveals that what Sebald is up to here is nothing less than deconstructing the modern belief in progress and a view of nature that resulted in the exploitation of the natural world.” This topic sounds very relevant today as we contemplate the disastrous effects of  climate change. Hutchins writes: “Because human history has so far meant competition with and the destruction of nature, Sebald does not hold out much hope for our continued survival. We destroy, he seems to think, those very structures that gave rise to our species and that make our continued existence possible.” Hutchins sees this piece as being  “conceived in the tradition of 1960s documentary theater… Sebald may have been thinking of the work of Rolf Hochhuth, Martin Walser, Heinar Kipphardt or Peter Weiss, whose major works of documentary theater appeared during Sebald‘s university studies, and whom he singles out for praise in the introduction to A Radical Stage,” an anthology that Sebald edited in 1988.


W.G. Sebald on Depression

One of the ways that I find books I am looking for is to post want lists on sites such as and generates daily emails to me with lists of books, most of which I don’t want or already own.Every once in a while, however, one of these notification emails leads me somewhere completely new and unexpected.Earlier this week, for instance, sent me a list of books by or about W.G. Sebald that had just been added to their website by some of their many member booksellers.Halfway down the list was this brief and abbreviated bookseller’s listing for a used paperback:
“Solomon, Andrew. Noonday Demon, The.London, United Kingdom: Vintage, 2002. ‘As wide-ranging as it is incisive, this astonishing work is a testimony both to the mute …”

What did this book have to do with Sebald? Clicking on the link took me to the offering by an Australian bookseller, where I learned that Sebald had provided a blurb for the “Advance Praise” page at the front of the book.


Andrew Solomon is a widely respected writer and novelist, whose work I had seen in the New York Times Magazine.His book The Noonday Demon: An Atlas of Depression (NY: Scribner, 2001) won a 2001 National Book Award and was a Pulitzer Prize finalist the following year.

The blurb provided by Sebald riffs on the title of Freud’s 1930 book Civilization and its Discontents: “The Noonday Demon explores the subterranean realms of an illness which is on the point of becoming endemic, and which more than anything else mirrors the present state of our civilization and its profound discontents. As wide-ranging as it is incisive, this astonishing work is a testimony both to the muted suffering of millions and to the great courage it must have taken the author to set his mind against it.”
– W.G. Sebald, author of The Emigrants

The title phrase, by the way, originates in Psalms 91:5-6 (“Thou shalt not be afraid for the terror by night; nor for the arrow that flieth by day; Nor for the pestilence that walketh in darkness; nor for the destruction that wasteth at noonday.”) When Solomon mentions earlier ways by which depression was referred to, including melancholia, a possible link to Sebald came to mind.Since the appearance of The Emigrants in 1996, Sebald had been the one contemporary writer inextricably linked with the arcane term melancholia.(Note that the only work attributed to Sebald in this blurb is The Emigrants, even though he had published several other important works by 2001.)I can imagine that the mere use of the world melancholy triggered the connection to Sebald as a candidate to provide “advance praise” for Solomon’s book.The two authors shared one other connection, as well: the Wylie Agency, a prominent New York and London literary agency.

“Intense, uncompromising” – Blurbs by Sebald

One of the challenges for a completist book collector like me has been to figure out how to keep collecting Sebald after I had every one of his books (or at least every one that I could afford). Some directions were obvious and thus I started adding books about Sebald, books that anthologized Sebald, magazines in which his work had appeared… But when I came across Norbert Gstrein’s The English Years, I saw yet another subset within my Sebald collection – books with jacket blurbs written by Sebald. I thought that, if nothing else, these books might shed light on Sebald’s reading tastes or on the network of literary friendships that often lead to requests for blurbs.

In Sebald’s own case, I think book jacket blurbs played a critical role in helping expand international awareness of his writing. And it was all because of of one book review – Susan Sontag’s “A Mind in Mourning” (Times Literary Supplement February 25, 2000) – and the resulting blurbs by Sontag that appeared on some of Sebald’s subsequent editions in English.I know that I picked up my first book by Sebald because of her imprimatur on the cover.


Sebald’s first published blurb seems to have been for Foreign Brides by Moscow-born journalist and author Elena Lappin, which was first published in London in a hard cover edition by Picador in 1999, to be closely followed that year followed by an American edition from Farrar, Straus & Giroux. Both contained the somewhat ambivalent jacket blurb by Sebald: “A wonderful story collection set between one place and another and shaped by a fearless sense of comedy.” When the British-based Lappin’s next book The Nose came out in 2001, Picador simply trimmed down and recycled the crux of Sebald’s earlier blurb on the front cover: “A fearless sense of comedy.”

The next occasion for a blurb seems to have been for the Hungarian writer László Krasznahorkai’s The Melancholy of Resistance (NY: New Directions, 2000). Appropriately, the two blurbs on the back cover are from Sebald and Susan Sontag.Sebald’s blurb reads: “[The Melancholy of Resistance] is a book about a world into which the Leviathan has returned. The universality of its vision rivals that of Gogol’s Dead Souls and far surpasses all the lesser concerns of contemporary writing.” The book was first published in English as a paperback by Quartet in London in 1998, apparently with the same blurb by Sebald although I have not seen a copy myself.The connection between Sebald and Krasznahorkai was made by Sebald’s friend the poet and translator George Szirtes (born 1948), who has written in the Hungarian Quarterly of his experiences translating The Melancholy of Resistance and other books from the original Hungarian: “Asked by Quartet as to who might provide a suitable endorsement of the book, I gave the name of W.G. Sebald, then forgot to mention it to the man himself; so when he rang up one day to announce he had received the typescript I was full of apologies. He was not at all put out: he thought it was a marvellous book and was pleased to provide a few sentences.” (George Szirtes, “Foreign Laughter.” Hungarian Quarterly XLVI, No. 180 Winter 2005.)

Most likely Sebald’s last true blurb was written for Norbert Gstrein’s novel The English Years, which was published shortly after Sebald died (London: Harvill, 2002). Sebald is quoted on the front cover of the dust jacket: “An exceptional work of prose fiction: carefully crafted, unpretentious, and accomplished at the same time.” The connection between the Austrian writer (born 1961) Gstrein and Sebald may well have been the translator they shared during 2001, Anthea Bell.


With the rediscovery of the writings of the German Gert Ledig (1921-1999), instigated in part by Sebald’s discussion of his “unjustly forgotten” books in On the Natural History of Destruction, blurbs by Sebald have become standard issue as Ledig’s books are translated into English and released on both sides of the Atlantic. By comparison with his brief earlier blurbs, the quotation on the back cover of Gert Ledig’s Payback is a generous fifty words or so in length. In this case, however, the blurb is actually a patchwork quotation carefully extracted (and ever so slightly massaged for clarity) from a three-page span of Sebald’s On the Natural History of Destruction (see pps. 94-6 in the Random House edition). In addition, the top of the book’s front cover is emblazoned with the two word quote from Sebald: “Intense, uncompromising.”Payback (London:Granta, 2003), issued as a paperback original, was the first English-language appearance of Ledig’s Vergeltung (1956).

Ledig’s The Stalin Organ, also released as a paperback original (Granta, 2004), reduced Sebald’s contribution to two words – “Intense, uncompromising” – but left them dramatically at the top of the front cover. This was the first English translation of Ledig’s Der Stalinorgel (1955).When the New York Review of Books released this in America in 2005, the title was changed to The Stalin Front and the publishers reverted to a lengthier, albeit significantly different, quotation from On the Natural History of Destruction – and once again the transcription from Sebald’s original book into blurb was rather loosely but strategically massaged.

Undoubtedly there are more blurbs by Sebald to be found and more to come as publishers mine his critical writings and his fame.