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Posts from the ‘Will Self’ Category

Update on Will Self’s Upcoming Talk on Sebald

Two days ago I posted that the writer Will Self is to deliver a talk called “The Ghost of Future Past: W.G. Sebald and the Trauma of Modernity” at 7 PM on Tuesday, December 20, 2022, at St George’s German Lutheran Church, Whitechapel, London, with Rick Jones as the event’s host. At that time, The Article said the event would be both live and on zoom while the church’s website said the event is by Zoom only. I advised “Proceed with caution.” On December 4, Rick Jones clarified via email that tickets are to attend the talk in person in St George’s German Lutheran Church. Anyone wishing to watch via Zoom may apparently request to do so via the Eventbrite ticket site. Tickets are £5.

I wish I could be there.

Will Self to Talk on Sebald Dec. 20, 2022

The online platform The Article, which refers to itself as “a troll-free zone. Entertaining exchanges. Civilised conversation,” has announced that the writer Will Self will deliver a talk called “The Ghost of Future Past: W.G. Sebald and the Trauma of Modernity” at 7 PM on Tuesday, December 20, 2022, at St George’s German Lutheran Church, Whitechapel, London E1 8EB. Rick Jones hosts the event. Tickets are £5. The Article says the event is both live and on zoom. But the church’s website says the event is by Zoom only. On December 4, Rick Jones clarified via email that tickets are to attend the talk in person in St George’s German Lutheran Church. Anyone wishing to watch via Zoom may request to do so via the Eventbrite ticket site.

St. George’s German Lutheran Church is the oldest surviving German Church in Britain. The church closed for regular worship in 1996 when it was taken into care by The Historic Chapels Trust. Although it is still occasionally used for church services by the German community from London and the surrounding area, it is now principally used for concerts, lectures, meetings, and a place of historical study. St George’s German Lutheran Church is a unique testament to common heritage shared by two nations, both in the past and in the present.

Will Self has a long history of writing and speaking about Sebald. He gave the 2009 Sebald Lecture, organized by the British Centre for Literary Translation at the University of East Anglia, titled “Absent Jews and Invisible Executioners: W G Sebald and the Holocaust.” (That lecture can be heard here on SoundCloud.) More recently, he led a segment of BBC Radio’s Channel 4 Archive on 4 progam. “In the company of Sebald biographer Carole Angier and former friend, poet Stephen Wells, Self moves through the Sebaldian landscape of Southwold, Liverpool Street and the East End whilst exploring the archive devoted to one of the truly great writers of the late 20th Century.” (That program can be heard here.)

Self’s forthcoming book from Grove Press/Grove Atlantic, Why Read: Selected Writings 2001-2021, contains “a lengthy, dark, autobiographical piece on W.G. Sebald and the role of the Holocaust.”

After Sebald

After Sebald Full Circle

Even before I opened up the book, I wondered about the front cover of Full Circle Edition’s new title After Sebald. The list of the nine contributors (excluding Jon Cook, the volume’s editor) – three visual artists, four writers, and two academics – suggested a welcome new approach to Sebald, a possibly refreshing change from the steady appearance of theory-infused academic volumes that have been appearing regularly for years.

But first I had to ask if my tally of four writers was correct. Was “John Coetzee” really J.M. Coetzee, the Nobel Prize winning novelist? I had never, ever seen his name written this way. So I turned to the two pages of Author Biographies to confirm the identification, only to find that Coetzee was missing. The Contents page also listed him as “John Coetzee,” but turning to the actual page on which his essay began I found that the author was suddenly “J.M. Coetzee.” Not an encouraging sign.

Jon Cook, whose two-sentence bio is included in the Author Biographies, is a Professor of Literature at the University of East Anglia, where Sebald spent most of his academic career. In his Introduction, he tells us:

A collection of this kind does not have a single purpose, other than to help readers enjoy and think further about Sebald’s work….If these different readings give us the opportunity to gauge the scale of his achievement they suggest something else as well: that Sebald is an author whom we are still learning how to read and one whose works can stand the test not just of time but of different interpretations.

Fair enough. The presentation of such a wide range of responses in a single volume actually does say a great deal about Sebald and his work. Writers, for instance, tend to have a very different way of analyzing and examining the work of  fellow writers than do academics. And it is difficult to think of another writer who has attracted the attention of visual artists in the way that Sebald has.

Robert Macfarlane, whose simply-titled essay “Sebald” is given the task of batting first in After Sebald, wants to focus on the elusiveness of Sebald’s writing and the varied ways in which readers respond to that. “The extreme resistance of Sebald’s prose to interpretation is one of the reasons why he has already attracted so many interpreters. His writing operates as a mood, rather than as a set of propositions, and as such it is often its own best expression. Certainly, Sebald’s work incites inarticulacy.” Macfarlane’s piece wants to serve as a warning to those who parse and dissect ever smaller bits of Sebald’s work, a warning to those who see only “a set of propositions” that through the examination of the lone branch or the single leaf they risk misunderstanding the entire forest. In short, Sebald’s work is vastly greater than the sum of all its parts. Macfarlane also attempts (in nice Sebaldian fashion) to catalog “the case against Sebald,” beginning with the impression “that he is the Eeyore of contemporary literature whose glum pessimism is relentlessly mistaken for profundity,” but it seems pretty clear that he doesn’t give much credence to any of these concerns

I would argue that Will Self’s “Absent Jews and Invisible Executioners” would have served as a better opening essay. Macfarlane gives a quirky first impression of Sebald and is often hobbled by his own perspective as a  writer who is most at home in the wilds of nature, which limits the range of responses he can give to much of Sebald’s work. Self, on the other hand, meanders over Sebald’s life and work in a compact, determined way, touching, even if lightly, on nearly all of the major issues raised in Sebald’s primary books. In “Loosed in Translation,” novelist and writer Ali Smith focuses on “what gets lost, what gets found, what gets loosed, freed, liberated in the work of Sebald.” Her essay centers on writerly issues like language, silence, and translation. “Reading Sebald in translation is, in many ways, the whole point,” she decides. J.M. Coetzee’s essay “W.G. Sebald, After Nature,” was the most disappointing and dated of the writers’ responses. Originally written as a review of After Nature in 2002, it suffers from its book review brevity and its focus on a single book. I would have much preferred to hear what Coetzee would think of Sebald’s legacy today, after a dozen more years have passed.

Artists observe writers with a completely different set of eyes and concerns. Tacita Dean’s essay-like piece called, simply “W.G. Sebald” (which I have written about at some length earlier) is perhaps the best Sebaldian homage to the writer ever written. She combines descriptions of her own art-making practice and travels, her reading of Sebald, her family history, and numerous photographs into a terrific tale that demonstrates the way in which the uncanny operates in Sebald’s works. Tess Jaray’s “Two Pieces” is the only essay in the anthology which deals with Sebald the man. Jaray recounts several meetings with Sebald at her studio, leading up to the collaborative book that used his poems and her artwork, For Years Now. Her insights into Sebald’s personality seem as incisive and clear as an X-ray. Finally, artist Richard Long contributes a piece called “LIFEDEATH” that consists of two color photographs of a landscape stretching over a pair of double-page spreads, followed by a fold-out text work that has the subtitle “A Four Day Walk on Dartmoor.” Dartmoor, of course, is a long distance from Sebald’s East Anglia, so it’s hard to determine if Long created something specifically in relation to Sebald or merely contributed an image of existing artwork that seemed appropriate. The text piece (without the photographs) can be found on Long’s website dated 2011 with no reference to Sebald.

Gillian Beer turns her scholarly sights on a nice overview of “Sebald in the City.” Sebald’s cities are places where continual renewal and never-ending self-destruction are one and the same. “Cities carry the past and they obliterate it,” Beer writes.

I was particularly interested in Clive Scott’s essay “W.G. Sebald: Enumeration, Photography and the Hermeneutics of History.” Scott carefully binds together Sebald’s endless fascination with lists and repositories of all types with his use of photographs.

The enumerative principle makes itself manifest in many different Sebaldian institutions and activities: the artist’s studio, the graveyard, the collection, the repository, the library, the museum, the catalogue, the treasury, the inventory, the dictionary, the encyclopaedia, the pawnshop, the second-hand shop (where Sebald is in the habit of picking up old photos), the antiques shop, the country house, the attic and the photo-album….my approach to enumeration …here is treated as an existential pivot, a perceptual crux which generates a dialectic between the paratactic (close-up) and the hypotactic (the long view), between a jamming mechanism and the flow of history.

And a few pages later:

The more we discover, the more, proportionately, our ignorance increases; the more we do not know, the more injustices we do, the more we misrepresent reality, the more prejudiced we are, the more unjustified is the store we put by what we do know, the photographs we do have. Sebald’s photos do not fill holes, they create them. We must, then, write the kind of history in which we not only take responsibility for our ignorance, but acknowledge that it is a guilt that subsumes all others, and that it is always in excess of memory’s capacity to redeem it.

After Sebald is a useful, if flawed, book, pulling together a number of helpful articles and presentations on Sebald that are generally hard or impossible to find. Like all of Full Circle’s books, it’s a very handsome volume and reasonably priced at £16. Unfortunately, After Sebald is marred by sloppy editing that permitted several misspelled names, including Sebald’s own first name – which appears (incorrectly) as “Winifred” in Macfarlane’s essay but is later correctly spelled as “Winfried” in Self’s piece. Even the origins of the various contributions are sometimes obscured. As far as I can tell, the only essay being published for the first time here is Clive Scott’s, but even the book’s Acknowledgements page is inconsistent when listing the place where essays were first published or presented as lectures. Coetzee’s piece is simply credited to “Random House,” when it actually first appeared in the New York Review of Books years before being anthologized in his book Inner Workings (2008), and there is no acknowledgement whatsoever that Ali Smith’s piece was presented as the 2011 Sebald Lecture at the British Centre for Literary Translation. Yes, for the most part these are small issues, but if these happen to be merely the mistakes that I caught, I have to wonder what other ones I might have missed.

Jon Cook, ed. After Sebald: Essays & Illuminations. Suffolk: Full Circle Editions, 2014

Will Self’s Sebald Lecture

As several readers of Vertigo have mentioned, an “edited” version of Will Self’s January 11, 2010 lecture on W.G. Sebald has been published in the Times Online.  Unfortunately, the article is now behind their paywall. In the piece, Self touches on several of Sebald’s books and a cast of characters that includes Woody Allen, Albert Speer, Alexander Kluge,Bernhard Schlink, Hannah Arendt, and many others.  It’s a complex, dense, thoughtful, broad ranging and controversial speech that is definitely worth reading.  Here are a few quotes:

Sebald is rightly seen as the non-Jewish German writer who through his works did most to mourn the murder of the Jews.

To read Sebald is to be confronted with European history not as an ideologically determined diachronic phenomenon – as proposed by Hegelians and Spenglerians alike – nor as a synchronic one to be subjected to Baudrillard’s postmodern analysis. Rather, for Sebald, history is a palimpsest, the meaning of which can only be divined by rubbing away a little bit here, adding on some over there, and then – most importantly – stepping back to allow for a synoptic view that remains inherently suspect.

In England, Sebald’s one-time presence among us – even if we would never be so crass as to think this, let alone articulate it – is registered as further confirmation that we won, and won because of our righteousness, our liberality, our inclusiveness and our tolerance. Where else could the Good German have sprouted so readily?

Will Self To Give Annual Sebald January 11, 2010

This announcement is quoted from Will Self’s website:

Will Self is going to be giving the annual WG Sebald lecture at Kings Place in London on Monday 11 January at 7pm. Self will analyse Sebald’s Holocaust writing in the light of the evolving historical understanding of the Holocaust and the part the German people took in it. Self asks whether, when it comes to such crimes against humanity, it is possible for their [sic] to be a literature either by, or about, the perpetrators, and what purpose such writings might fulfil.

If anyone goes to hear Self, I’d love it if you would write up a report as a comment to this post.

Reverse-Engineering Sebald

For what it is worth, Will Self continues to think and write about W.G. Sebald.  Perhaps not surprisingly, Self’s latest piece in The Guardian is considerably more about Self than Sebald.  Self’s intention seems simple enough:

My decision to “reverse engineer” a Sebaldian piece of writing was an obvious one: I had a similar sensibility already, all I had to do was to take it for a walk and see what it came up with.

And I confess I was vaguely curious about the outcome, which, ultimately, Self declares to be a success.  I’m not so sure.

Suffice to say, the reverse engineering worked, and having sent my own fictive alter ego walking along the collapsing cliffs of the Holderness coast, by the time my actual body arrived, it found the streets of Bridlington – normally thronged with holidaymakers during July – curiously empty. Moreover, as I plodded for mile after mile, I found myself in the uncanny position of activating those events that my alter ego had left, like psychic mantraps, waiting for me.

Well, read it for yourself.

[Thanks to the handful of Vertigo readers who tipped me off to this piece, which appeared in The Guardian February 7, 2009.]