Winfried Sebald - Campo Santo

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Campo Santo: краткое содержание, описание и аннотация

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This final collection of essays by W. G. Sebald offers profound ruminations on many themes common to his work — the power of memory and personal history, the connections between images in the arts and life, the presence of ghosts in places and artifacts. Some of these pieces pay tribute to the Mediterranean island of Corsica, weaving elegiacally between past and present, examining, among other things, the island’s formative effect on its most famous citizen, Napoleon. In others, Sebald examines how the works of Günter Grass and Heinrich Böll reveal “the grave and lasting deformities in the emotional lives” of postwar Germans; how Kafka echoes Sebald’s own interest in spirit presences among mortal beings; and how literature can be an attempt at restitution for the injustices of the real world.
Dazzling in its erudition, accessible in its deep emotion, Campo Santo confirms Sebald’s status as one of the great modern writers who divined and expressed the invisible connections that determine our lives.
“W. G. Sebald exemplified the best kind of cosmopolitan literary intelligence — humane, digressive, deeply erudite, unassuming and tinged with melancholy. . In [Campo Santo] Sebald reveals his distinctive tone, as his winding sentences gradually mingle together curiosity and plangency, learning and self-revelation. . [Readers will] be rewarded with unexpected illuminations.”
— The Washington Post Book World “Brilliant … bursting with flavors … at once precise and luscious … [Campo Santo] reminds us what a significant loss [Sebald’s] early passing was to the literary world.… [The] travel essays on Corsica are absolute gems.… [D]iscussions of Nabokov, Kafka, Gunter Grass, and the schizophrenic poet Herbeck … provide a satisfaction as rare as a perfect meal.”
— The Boston Globe “[A] darkly companionable voice … This magnificent writer may have left abruptly, but his own shadow lingers.”
— The New York Times Book Review “Max Sebald has begun to be widely recognized as one of the most important prose writers of the past 20 years.”
— The Economist “Nuanced … multidimensional … Ruminative and elegiac, the late W. G. Sebald wove threads of timelessness connecting past and present.”
— The Dallas Morning News “All of Sebald’s books are about journeys … [and he] is an entertaining guide.”
— The New York Review of Books “[Sebald] is prone to visions, hallucinations, and premonitions, usually induced by a confrontation with a personal memory or a historical site. These are the source of the subdued horror of much of Sebald’s work, and also of its very dry humor.… Four fragments of a literary work about a trip to Corsica … have the virtues of Sebald’s best work, with its odd blend of fiction, memoir, history, and travelogue.”
— The New York Sun “Stunning … intensely observant, erudite, lyrical, and provocative … Detailed descriptions of Sebald’s wanderings on [Corsica] turn into musings of astonishing beauty and insight into history, environmental decimation, and our feelings about death. These arresting meditations, brilliant syntheses of thought and feeling, are followed by masterful, passionate critical essays expressing Sebald’s belief in the healing power of literature and our obligation to remember the past and respect life in all its wonders and mysteries
— Booklist “[A] masterful translation … Sebald was a beautiful and intelligent writer.”
— Publishers Weekly “If you thought literary modernism was dead, guess again. The spirit of such masters as Kafka and Borges lives on in the [work] of W. G. Sebald.”
— The Wall Street Journal

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54 Neue Geschichten , p. 35.

55 Ibid., p. 37.

56 Ibid., p. 39.

57 Ibid., p. 49.

58 This and the following quotation: ibid., p. 53.

59 Cf. Wuppertal 1945 , by Robert Wolfgang Schnel, in Vaterland, Muttersprache — Deutsche Schriftsteller und ihr Staat seit 1945 , ed. K. Wagenbach, W. Stephan, and M. Krüger (Berlin: 1979), p. 29f., which quotes this comment by Brecht in a context that is relevant here. Stanislaw Lem, Imaginäre Grösse (Frankfurt: 1981), p. 74; Eng., Imaginary Magnitude , tr. Marc E. Heine (London: 1985).

60 Neue Geschichten , p. 59.

61 Ibid., pp. 63, 69.

62 Ibid., p. 79.

63 Interview mit dem Tode , p. 121.

64 Andrew Bowie, Problems of Historical Understanding in the Modern Novel , typewritten diss., Norwich, Eng., 1979, an outstanding work that studies Kluge in its closing chapter.

65 Neue Geschichten , pp. 38, 54.

66 Problems of Historical Understanding , p. 295f.

67 Neue Geschichten , p. 106f.

CONSTRUCTS OF MOURNING

1 Alexander and Margarete Mitscherlich, Die Unfähigkeit zu trauern , Munich, 1967, p. 9.

2 An almost entirely dismantled and deindustrialized Germany such as the Morgenthau Plan envisaged would hardly have been in any state to rehabilitate itself, and Robert Burton’s description of melancholy states where the land lies uncultivated, desolate, full of swamps, marshes, wildernesses, and the like, where cities fall into decay, towns are depressed and poor, villages are deserted, and the population is dirty, ugly, and uncivilized, would probably have been very relevant to Germany.

3 This and the following three quotations are from Die Unfähigkeit zu trauern , p. 35.

4 Hans Erich Nossack, Pseudoautobiographische Glossen (Frankfurt: 1971).

5 Hans Erich Nossack, Der Untergang . In Interview mit dem Tode , Frankfurt, 1972, p. 249.

6 Act I, scene 2.

7 Die Unfähigkeit zu trauern , p. 47.

8 Ibid., p. 48.

9 Ibid., p. 56.

10 Ibid., p. 57.

11 Ibid., p. 28.

12 Heinrich Böll, Frankfurter Vorlesungen , Munich, 1968, p. 8.

13 Ibid., p. 9.

14 Die Unföhigkeit zu trauern , pp. 19, 18.

15 Günter Grass, Tagebuch einer Schnecke , Reinbek, 1974, p. 80; Eng., From the Diary of a Snail , tr. Ralph Manheim, London, 1974, p. 112.

16 Ibid., p. 27; Eng., p. 34. Lichtenstein’s book did not appear until 1973. In the foreword to his monograph, Erwin Lichtenstein comments that Grass, in his own latest book, refers “to accounts and news reports as well as much factual material that he had from me.” And he continues: “The reader of Diary of a Snail will find my information expressed in the chapters of Günter Grass’s book tracing the final period of the history of the Jews in Danzig” (E. Lichtenstein, Die Juden der freien Stadt Danzig under der Herrschaft des Nationalsozialismus , Tübingen, 1973, p. viii). We have here a clear indication that there had been no research by local historians into the fate of the Jewish communities on the German side, and that little had changed in the state of affairs deplored by Jean Paul as “Christian neglect of the study of the Jews.”

17 Günter Grass, Katz und Maus , Reinbek, 1963, p. 35; Eng., Cat and Mouse , tr. Ralph Manheim, London.

18 See “Rede auf Hermann Broch,” in Elias Canetti, Aufzeichnungen 1942–1948 , Munich, 1969, p. 159f; Tagebuch einer Schnecke , p. 153; Eng., p. 223.

19 Walter Benjamin, Ursprung des deutschen Trauerspiels , Frankfurt, 1963, p. 166; Eng., The Origin of German Tragic Drama , tr. John Osborne, London, 1977, p. 152.

20 Tagebuch einer Schnecke , p. 155; Eng., p. 223.

21 Ibid., p. 81.

22 Heinrich Böll, Der Zug war pünktlich , Munich, 1972, p. 34; Eng., The Train Was on Time , tr. Leila Vennewitz, London, 1970, p. 28.

23 Tagebuch einer Schnecke , p. 155; Eng., p. 96.

24 Ibid., p. 70; Eng., p. 97.

25 Ibid., p. 37; Eng., p. 49.

26 In Tagebuch einer Schnecke (From the Diary of a Snail) , Grass tells his children: “It’s true: you’re innocent. I, too, born almost late enough, am held to be free from guilt. Only if I wanted to forget, if you were unwilling to learn how it slowly happened, only then might words of one syllable catch up with us: words like guilt and shame; they, too, resolute snails, impossible to stop” (p. 13; Eng., p. 13). The most notable feature of this passage is the less than convincing logic of the last couple of lines.

27 Tagebuch einer Schnecke , p. 130; Eng., p. 188.

28 Ibid., p. 189; Eng., p. 274.

29 Ibid., p. 203; Eng., p. 294.

30 Wolfgang Hildesheimer, Tynset , Frankfurt, 1965, p. 30.

31 Ibid., p. 39.

32 Ibid., p. 46.

33 Ibid., p. 155f.

34 Act I, scene 1.

35 Franz Kafka, Briefe an Felice , Frankfurt, 1967, p. 283.

36 Quoted from F. P. Wilson, Seventeenth-Century Prose , Cambridge, Eng., 1960, p. 45.

37 Ibid., p. 27.

38 Sir Thomas Browne, Hydriothapia. Urne-Burial; or, A Brief Discourse of the Sepulchrall Urnes lately found in Norfolk , London, 1658. In The Prose of Sir Thomas Browne , New York and London, 1968, p. 281.

39 Tynset , p. 185.

40 See Ursprung des deutschen Trauerspiels , p. 164; Eng., p. 150.

41 Hamlet , Act IV, scene 5.

42 Tynset , p. 87.

43 Theodor W. Adorno, Ästhetische Theorie , Frankfurt, 1970, p. 66.; Eng., Aesthetic Theory , tr. Robert Hullot-Kentor, London, 1997, p. 39f.

44 Tynset , p. 186.

45 Ibid., p. 79; Hamlet , Act I, scene 5.

46 Tynset , p. 265.

47 Ibid., p. 14.

48 Wolfgang Hildesheimer, “Brief an Max über den Stand der Dinge und Anderes,” in Manuskripte. Zeitschrift für Literatur 76 (1982), p. 44.

49 Lucifers Königreich und Seelengejäidt: Oder Narrenhatz. In acht Theil Abgetheilet … Durch Aegidium Albertinum, Fürstl.: Durchl: in Bayrn Secretarium, zusammen getragen , Munich, 1617, p. 411 (quoted in Ursprung des deutschen Trauerspiels , p. 156).

Sources of the Text

PROSE

“A Little Excursion to Ajaccio” ( Kleine Exkursion nach Agaccio). Frankfurter Allgemeine Zeitung , 10 August 1996.

“Campo Santo” ( Campo Santo). Akzente 1 (2003), pp. 3–14.

“The Alps in the Sea” (Die Alpen im Meer ). Literaturen 1 (2001), pp. 30–33.

La cour de l’ancienne école ” ( La cour de l’ancienne école ). In: Quint Buchholz, ed., BuchBilderBuch , stories about pictures, Zürich, 1997, pp. 13–15.

ESSAYS

“Strangeness, Integration, and Crisis. On Peter Handke’s Play Kaspar ” ( Fremdheit, Integration und Krise. Über Peter Handkes Stück Kaspar ). Literatur und Kritik 10 (1975), pp. 152–58.

“Between History and Natural History: On the Literary Description of Total Destruction” ( Zwischen Geschichte und Naturgeschichte. Über die literarische Beschreibung totaler Zerstörung ). Orbis litterarum 37 (1982), pp. 345–66.

“Constructs of Mourning: Günter Grass and Wolfgang Hildesheimer” ( Konstruktionen der Trauer. Günter Grass und Wolfgang Hildesheimer ). Deutschunterricht 35 (1983), 5, pp. 32–46.

“Des Häschens Kind, der kleine Has (“The Little Hare, Child of the Hare”): On the Poet Ernst Herbeck’s Totem Animal” ( Des Häschens Kind, der kleine Has. Über das Totemtier des Lyrikers Ernst Herbeck ). Frankfurter Allgemeine Zeitung , 8 December 1992.

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