Alexander Kluge’s writings clearly exerted a great influence on W.G. Sebald, especially Kluge’s important 1977 book Neue Geschichten: Hefte 1–18: “Unheimlichkeit der Zeit” (which roughly translates as “New Histories: Notebooks 1–18: ‘The Uncanniness of Time’“) . Neue Geschicten is written in a flat, non-literary prose that becomes a montage of voices, photographs, drawings, and charts. Last year, Seagull Books released Kluge’s book Air Raid, which includes what I believe to be the first English translation of a section from Neue Geschichten. The bulk of Air Raid, which is translated by Martin Chalmers, consists the the text titled “The Air Raid on Halberstadt on 8 April 1945,” which appears in Neue Geschicten as the second of the eighteen notebooks ,”Der Luftangriff auf Halberstadt am 8. April 1945.”About a third of Air Raid consists of related pieces by Kluge drawn from several of his other books. Air Raid then concludes with Sebald’s “essay” on Kluge called “Between History and Natural History. On the Literary Description of Total Destruction. Remarks on Kluge.” Read more
Full Circle Editions is a small publisher based in East Anglia that has produced sixteen books since it began operations in 2008. I’ve written about two of their books before: Audio Obscura by poet Lavinia Greenlaw and photographer Julian Abrams and After Sebald: Essays and Illuminations. I’ve recently finished two more of Full Circle’s handsome, well-designed books: Body of Work: 40 Years of Creative Writing at UEA (2009) edited by Giles Foden and The Burning of the Books (2014), a poem sequence by George Szirtes with photocollages by Ronald King. Read more
I sat at a sidewalk table of one of the cafés facing the Charléty stadium. I constructed all the hypotheses concerning Philippe de Pacheco, whose face I didn’t even know. I took notes. Without fully realizing it, I began writing my first book. It was neither a vocation nor a particular gift that pushed me to write, but quite simply the enigma posed by a man I had no chance of finding again, and by all those questions that would never have an answer.
So writes the narrator of Flowers of Ruin (Fleurs de Ruine), the third and final novella in Patrick Modiano’s book Suspended Sentences. After all of the hoopla over his winning the Nobel Prize for literature, I was impatient to check him out for myself. So I headed over to the great Prairie Lights Books in Iowa City to see what was in stock. At the moment, Suspended Sentences was my only option, but it turned out to be a good introduction to Patrick Modiano. I read the book compulsively for the next few hours, sucked in by Modiano’s voice and pacing.
I can’t seem to stop writing about the Cahier Series, published by Sylph Editions in collaboration with the Center for Writers & Translators at The American University of Paris. I have previously written about five earlier numbers in this series and now I’m blown away by the latest two, both written by eminent translators.
As I neared the end of Witnessing, Memory, Poetics: H.G. Adler & W.G. Sebald I began to feel a bit claustrophobic as a succession of scholars resolutely examined the relationships between these two writers. But the final section, “Literary Legacies and Networks,” introduced a new set of faces to the volume – Franz Kafka, Theodor Adorno, Hermann Broch, and Heinrich Böll. In the first of three essays in this section, Martin Modlinger examines “The Kafkaesque in H.G. Adler’s and W.G. Sebald’s Literary Historiographies.” Adler made numerous references to Kafka in his books and short stories and, significantly, warned against viewing Kafka primarily as a prophet of the Holocaust. Adler believed that “totalitarianism makes up just one chapter of many equal, disturbing developments in modern history that Kafka’s work addresses.” Although Sebald’s use of Kafka has been written about frequently, Modlinger brings some new insights of his own, comparing Jacques Austlitz’s inability to gain access a real understanding of Theresienstadt (where his mother perished) with the surveyor’s inability to penetrate the castle in Kafka’s novel The Castle.
As a place of suffering and death, [Theresienstadt] cannot – and should not – be fully accessible to the living. Where literature approaches history, especially the history of the Holocaust, it needs to keep its proper distance. For Sebald, literary historiography can never claim to be able to present the factual or emotional truth of suffering; it can only describe the path of necessary failure toward such an understanding.
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. Read more
The latest issue of the Journal of European Studies (vol. 44, no 4, December 2014), contains a section called “Three Encounters with W.G. Sebald (February 1992 – July 2013),” edited by Richard Sheppard. Sheppard also provides some introductory remarks. (The complete Table of Contents for the issue can be found here.)
The first encounter is a reprint of Toby Green’s 1992 revealing interview with Sebald called “The Questionable Business of Writing,” accompanied by a new introduction by Green. This first appeared on the Amazon.UK website, where, somewhat surprisingly, it can still be found. Read more