Let me just say right from the start that Uwe Schütte’s new short, general introductory book W.G. Sebald is excellent. Published in Liverpool University Press’s “Writers and their Work” series, Schütte’s book is now the place to start with one’s study of Sebald. I am really surprised that something like this had not been done in the seventeen years since Sebald’s death. It seems so simple, doesn’t it—summarize an author’s life, books, and impact in 130 pages? Schütte makes this look easy, which is a credit to the clarity of his writing and critical thinking. But in truth this is not an easy genre to master. And undoubtedly, some passage of time is required so that a solid body of critical writing can amass and, in turn, be evaluated.
From 1992 to 1997, Schütte was Sebald’s sole post-graduate student at the University of East Anglia, and thus, he notes, “I could witness his meteoric rise to international literary fame from a close distance.” Schütte’s book contains seven chapters, five of which are dedicated to specific books by Sebald: After Nature, Vertigo, The Emigrants, The Rings of Saturn, and Austerlitz. “From After Nature to Austerlitz, [Sebald’s] goal is always to create a poetic truth, to make visible the invisible, to allow the metaphysical to enter the profane.” Schütte is good at outlining the sources for these five books—how much originated originated from Sebald’s own life and personal experience, how much from his German upbringing, and what came out of his extensive research. The Rings of Saturn, for example, was not intended to be a book but was simply a plan to make ten walks in East Anglia and write ten articles for a German newspaper. Read more
Tess Jaray, “Sketch from a letter to W.G. Sebald,” circa 1999. Pencil on photocopy.
“All’estero & Dr. K.’s Badereise nach Riva: Version B,” a group exhibition at the Croy Nielsen gallery in Vienna, takes its inspiration from two chapters in W.G. Sebald’s Vertigo (Schwindel. Gefühle). Curated by Saim Demircan, this is part of an annual “gallery share” event called, appropriately, “curated_by,” which involves twenty-one galleries across Vienna. Read more
All next week, University College London is holding its annual Festival of Culture. The list of programs looks great, especially this Sebald-related event:
A Refugee Child in WW2 London
Friday 8 June, 12.30-1.30pm
Institute of Archaeology G6 Lecture Theatre
This event marks the 80th anniversary of the first of the Kindertransports in 1938, in which thousands of refugee children came to Britain from Nazi-occupied Europe, many of them passing through London via Liverpool Street station. We’ll explore one of our century’s greatest novels, W.G. Sebald’s Austerlitz (2001), about a Jewish child who comes to London on a Kindertransport from Prague and recounts his search in later life for his, and Europe’s, lost past.
This is a panel event including talks, film screening and discussion with the audience. Speakers Dr Zoltán Biedermann, Prof. Stephanie Bird, Dr Mererid Puw Davies and Prof. Mairéad Hanrahan are from UCL’s School of European Languages, Culture and Society (SELCS).
All are welcome. Tickets are free and can be booked here:
I’m not sure how four speakers, a film screening, and a discussion will fit into a single hour…
© Claudio Parmiggiani, Senza Titolo, 2009
Book, plaster cast, clock
“Melancholia,” an intriguing new exhibition has just opened in Brussels at the Boghossian Foundation – Villa Empain. Although somewhat similarly named, this exhibition is not related to the Melancholia: A Sebald Variation, which recently closed at King’s College London. The Brussels exhibit, on view through August 19 at the Boghossian Foundation – Villa Empain, Avenue Franklin Roosevelt 67, B – 1050 Brussels. From the press release:
I’ll be visiting London and Cambridge in April and the folks at the London Review Bookshop have invited me to join in a program celebrating the 20th anniversary of the publication in Great Britain of W.G. Sebald’s The Rings of Saturn. Grant Gee will be screening his terrific film Patience (After Sebald). Here’s the LRB’s program preview:
Marking 20 years since the translation into English of the late W.G Sebald’s The Rings of Saturn, one of the most remarkable books of the late twentieth century, Grant Gee introduces his acclaimed 2011 documentary essay film tracking both the journey taken in the volume, and the work’s own influence on numerous writers, artists and thinkers.
He will be joined in conversation by the film’s creative consultant, writer and critic Chris Darke, and Terry Pitts, founder of the remarkable literary blog Vertigo, founded out of a profound admiration for Sebald’s work. The evening is hosted by Gareth Evans.
You can purchase tickets for the 7:00 PM event at the LRB website. Come say hello!
In preparation for watching Patience, take a listen to the film’s hauntingly beautiful score by The Caretaker over at Bandcamp. Leyland Kirby (aka The Caretaker) used Franz Schubert’s 1827 piece Winterreise as his source material, which he “subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear.”
Since 2014, the Bill T. Jones/Arne Zane Company has been developing a trilogy of major, evening-length dances, one of which is based on the Ambros Adelwarth segment of W.G. Sebald’s The Emigrants. That trilogy is about to be performed in Seattle at the University of Washington on the evenings of February 1, 2, and 3. Here are the details from the University’s website.
Bill T. Jones’s latest work, Analogy: A Trilogy, is comprised of three evening-length works that reflect Jones’s fierce engagement with race, class, gender, history, and identity. Over three nights, Meany Center will present the entire trilogy (one of the first ever presentations in the country). The program, which features a live music soundscape, searches for the connection between three stories, focusing on memory and the effect of powerful events on the inner lives of individuals.
PROGRAM A | THURSDAY, FEBRUARY 1
The first work from Analogy stems from an oral history Jones conducted with 95-year old Dora Amelan, a French Jewish nurse and survivor of WWII. Dora is a meditation on perseverance, resourcefulness and resilience while suggesting the amorphous nature of memory.
PROGRAM B | FRIDAY, FEBRUARY 2
LANCE: PRETTY AKA THE ESCAPE ARTIST
Based on an oral history Jones conducted with his nephew, Lance T. Briggs. Lance is a tragic, yet humorous journey through the sex trade, drug use and excess during the 1980s.
PROGRAM C | FRIDAY, FEBRUARY 3
AMBROS: THE EMIGRANT
This final program in Analogy is based on Ambros Adelwarth, a German valet to a dissipated, young scion of a wealthy Jewish family, from W. G. Sebald’s celebrated historical novel, The Emigrants. Ambros is an exploration of how trauma can go underground in the psyche to direct the course of an individual’s life.
Click here for more information and tickets.
The “Being Human” festival in London is hosting a program this Wednesday, November 22 from 6-8 PM, called “A refugee child in London: on W G Sebald’s novel Austerlitz.” To quote from the program’s website (where you can also register to attend):
Today images and stories of child refugees, lost and found across Europe and beyond, challenge and haunt us. Come along for a free evening of talks, discussions and a film screening about one such story. The event focuses on one of our century’s greatest novels, W G Sebald’s Austerlitz (2001), about a child who comes to London in 1939 on a Kindertransport from Nazi-occupied Prague, and what happens to him afterwards. This book, entrancing, shocking and enigmatic by turns, recounts a search for Europe’s past and present, as well as a lost personal history. Academics and students from University College London will present their perspectives on the novel.
The program is being organized by the School of European Languages, Culture and Society of University College London. The event is being held at the Grant Museum of Zoology. According to organizers, the program will include talks and a discussion involving Zoltán Biedermann, Stephanie Bird, Mererid Puw Davies and Mairéad Hanrahan, and a film exploring different angles of Sebald’s book. “Amongst other things we will be talking about what drew us to link Austerlitz with the amazing specimens on view at the Museum.”
Detail from Albrecht Durer’s “Melancholia I” (1514)
Over at The Quietus, Adam Scovell has written an insightful review of the exhibition “Melancholia – A Sebald Variation” which I reported on recently. The exhibition is at the Inigo Rooms at Somerset House in London until the 10th of December. Scovell’s piece includes a wonderful photograph of a young Sebald riding a bicycle that is worth checking out.
Coming up on November 13, one of the exhibition’s artists Guido van der Werve will talk about his work with John-Paul Stonard and screen a film. Stonard is an art historian and writer who recently reviewed van der Werve’s work for The Guardian. The event is free but registration is required. Here’s the blurb from the web page where you can register:
The Dutch artist Guido Van der Werve makes films based on his personal interests, including extreme sports. For Nummer Vierteen: Home (exhibited in the Melancholia exhibition), he completed an epic 1000-mile triathlon between the Church of the Holy Cross in Warsaw, where Chopin’s heart is preserved, and the cemetery of Père Lachaise in Paris, where the composer’s body was laid to rest. Here Van der Werve will discuss this film and his other more recent work, alongside a screening.
And there is still time to register for the conversation on the exhibition with John Banville, Brian Dillon, and Lara Feigel tomorrow November 8.
A couple of weeks ago I called attention to an exhibition that had just opened in London called “Melancholia: A Sebald Variation.” Poet and translator Will Stone recently paid a visit to the Inigo Rooms of Somerset House and wrote a review of the exhibition for The London Magazine. “This exhibition constitutes a rare gift” to the viewer, he wrote. Unfortunately, the magazine doesn’t provide online access to non-subscribers, so I asked Will if I could reprint small portions of his piece.
According to Will, the exhibition is really “about destruction, or rather W.G. Sebald’s eponymous work On the Natural History of Destruction (1999) and the way melancholy alluringly affixes to these tragic scenes, which, once having leaked away the reality of their human suffering, become artistically aligned images whose visual message creates a space for new creativity.” Read more