You see? his wife—his second wife—would say when he came to this point in the story. At heart he is a romantic.
Perhaps I am, he would say.
Perhaps, she would mock him. Perhaps. It is his favorite word.
What would we do without it?
We would live our lives more happily, she would respond.
More happily perhaps, he would come back at her, but more humanly? More richly?
Gabriel Josipovici. The Cemetery in Barnes. Carcanet Press, 2018. Fair warning! This post contains plot spoilers, although I doubt that knowing what happens will lessen anyone’s appreciation for this elegantly written novel.
By the time you reach the fourth page of Gabriel Josipovici’s newest novel, The Cemetery in Barnes, you might begin to think there has been an editing problem. On one page the main character lives in London, then in an apartment in Paris, while on the next page he lives in an old farmhouse in the Black Mountains in Wales. Throughout the novel time and place and wives seem to change between one paragraph and the next. Some sentences are repeated, then full paragraphs are repeated, sometimes with minor variations. Read more
I thought it might worthwhile to do a roundup of the W.G. Sebald audio books available as of today, August 2018. The first six of the titles below are available for individual purchase (as downloads) via Audible, either individually or through an Audible subscription. Click here to see Sebald’s titles on Audible, where sample sections may be heard. Three of these titles are also available for download purchase at Audiobookstore.com, where the prices are somewhat cheaper. Sample sections can be heard here, too. All English-language titles are available for download at iTunes—along with several podcasts in English & German about Sebald).
English-language audio books.
Austerlitz. Narrator: Richard Matthews. (Audible, Audiobookstore.com & iTunes)
“Artists naturally gravitate toward indeterminacy.”
Baroni: A Journey (Almost Island Books, 2017) is the fourth of Sergio Chejfec’s novels to be translated into English since 2011. In 2014, I wrote about the first three: “Cumulatively, they delve into weighty issues like existence, loss, time, geography, memory, and identity. There are no plots, simply a series of males narrating their thoughts, observations, recollections, and theories.” With Baroni, Chejfec continues in this tradition, meditating on themes that include art, chance, landscape, and the puzzling sense that he is suffering from a prolonged despondency, “sunk in the most complete indifference.”
The Baroni of the title is Rafaela Baroni (born 1935), a popular (and very real) Venezuelan self-taught sculptress. She is also a seer who has experienced miracles and had several remarkable episodes of catalepsy. Key portions of Chejfec’s book deal with two wooden sculptures that he has acquired from Baroni: El Santo Médico and Mujer Crucificada. Read more
Pieter Bruegel the Elder, Children’s Games, 1560
Summer means beaches, beer, flirtations, rowdiness. For people in northern climates, the brevity of summer puts people who are in a rush to celebrate on a collision course with nature—with sand, water, heat, bugs, snakes, sudden storms. Written five years earlier than River (which I wrote about in two recent posts), Esther Kinsky’s novel Summer Resort is a condensed story of one very hot summer at an üdülő, or a resort, on an unnamed river in Hungary. The book, which has no real main character, is reminiscent of paintings by Pieter Bruegel the Elder, providing a macro view of the village, as if seen from a drone drifting overhead, replete with brief stories that convey the joys and irritations that comprise daily life.
Late in the evening two vehicles crashed at the corner of Main Road and Garageland Lane, a bright blue car and an egg-yolk yellow one, both made of soft pliant metal, the moon was high above the river and was orange, almost golden indeed and shone on the crushed and shifted metal, on the shards and splinters, on the now ruined lustre of journeys begun, on the pale faces of the injured, on whose temples the smile of departure still crouched in shock, it shone on the curiosity-crooked faces of the onlookers, on the last pale pink blooming hollyhock bell on a brown dried-up stand beside the Hotel Oasis where no one looked. So the day came to an end once and for all, and Katica stood on the cracked cement at the edge of the filling station, exactly at the point where the petrol station light and flashing blue light met, one shoulder raised, the other dragged down by her window cleaner’s bag, there she stood, profoundly exhausted by bearing witness to the evening.
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…