Austerlitz: Modern Library (Paperback)
Autor W. G. Sebald James Wood Traducere de Anthea Bellen Limba Engleză Paperback – 30 noi 2011
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Specificații
ISBN-13: 9780812982619
ISBN-10: 0812982614
Pagini: 298
Ilustrații: PHOTOGRAPHS THROUGHOUT
Dimensiuni: 135 x 206 x 23 mm
Greutate: 0.34 kg
Ediția:Anniversary
Editura: Modern Library
Seria Modern Library (Paperback)
ISBN-10: 0812982614
Pagini: 298
Ilustrații: PHOTOGRAPHS THROUGHOUT
Dimensiuni: 135 x 206 x 23 mm
Greutate: 0.34 kg
Ediția:Anniversary
Editura: Modern Library
Seria Modern Library (Paperback)
Notă biografică
W.G. Sebald was born in Wertach im Allgau, Germany, in 1944. He studied German language and literature in Freiburg, Switzerland, and Manchester. He has taught at the University of East Anglia in Norwich, England, since 1970, becoming professor of European literature in 1987, and from 1989 to 194 was the first director of the British Center for Literary Translation. His three previous books have won a number of international awards, including the Los Angeles Times Book Award for fiction, the Berlin Literature Prize, and the Literatur Nord Prize.
From the Hardcover edition.
From the Hardcover edition.
Extras
Chapter 1
In the second half of the 1960s I traveled repeatedly from England to Belgium, partly for study purposes, partly for other reasons which were never entirely clear to me, staying sometimes for just one or two days, sometimes for several weeks. On one of these Belgian excursions which, as it seemed to me, always took me further and further abroad, I came on a glorious early summer's day to the city of Antwerp, known to me previously only by name. Even on my arrival, as the train rolled slowly over the viaduct with its curious pointed turrets on both sides and into the dark station concourse, I had begun to feel unwell, and this sense of indisposition persisted for the whole of my visit to Belgium on that occasion. I still remember the uncertainty of my footsteps as I walked all round the inner city, down Jeruzalemstraat, Nachtegaalstraat, Pelikaanstraat, Paradijsstraat, Immerseelstraat, and many other streets and alleyways, until at last, plagued by a headache and my uneasy thoughts, I took refuge in the zoo by the Astridplein, next to the Centraal Station, waiting for the pain to subside. I sat there on a bench in dappled shade, beside an aviary full of brightly feathered finches and siskins fluttering about. As the afternoon drew to a close I walked through the park, and finally went to see the Nocturama, which had first been opened only a few months earlier. It was some time before my eyes became used to its artificial dusk and I could make out different animals leading their sombrous lives behind the glass by the light of a pale moon. I cannot now recall exactly what creatures I saw on that visit to the Antwerp Nocturama, but there were probably bats and jerboas from Egypt and the Gobi Desert, native European hedgehogs and owls, Australian opossums, pine martens, dormice, and lemurs, leaping from branch to branch, darting back and forth over the grayish-yellow sandy ground, or disappearing into a bamboo thicket. The only animal which has remained lingering in my memory is the raccoon. I watched it for a long time as it sat beside a little stream with a serious expression on its face, washing the same piece of apple over and over again, as if it hoped that all this washing, which went far beyond any reasonable thoroughness, would help it to escape the unreal world in which it had arrived, so to speak, through no fault of its own. Otherwise, all I remember of the denizens of the Nocturama is that several of them had strikingly large eyes, and the fixed, inquiring gaze found in certain painters and philosophers who seek to penetrate the darkness which surrounds us purely by means of looking and thinking. I believe that my mind also dwelt on the question of whether the electric light was turned on for the creatures in the Nocturama when real night fell and the zoo was closed to the public, so that as day dawned over their topsy-turvy miniature universe they could fall asleep with some degree of reassurance. Over the years, images of the interior of the Nocturama have become confused in my mind with my memories of the Salle des pas perdus, as it is called, in Antwerp Centraal Station. If I try to conjure up a picture of that waiting room today I immediately see the Nocturama, and if I think of the Nocturama the waiting room springs to my mind, probably because when I left the zoo that afternoon I went straight into the station, or rather first stood in the square outside it for some time to look up at the façade of that fantastical building, which I had taken in only vaguely when I arrived in the morning. Now, however, I saw how far the station constructed under the patronage of King Leopold exceeded its purely utilitarian function, and I marveled at the verdigris-covered Negro boy who, for a century now, has sat upon his dromedary on an oriel turret to the left of the station façade, a monument to the world of the animals and native peoples of the African continent, alone against the Flemish sky. When I entered the great hall of the Centraal Station with its dome arching sixty meters high above it, my first thought, perhaps triggered by my visit to the zoo and the sight of the dromedary, was that this magnificent although then severely dilapidated foyer ought to have cages for lions and leopards let into its marble niches, and aquaria for sharks, octopuses, and crocodiles, just as some zoos, conversely, have little railway trains in which you can, so to speak, travel to the farthest corners of the earth. It was probably because of ideas like these, occurring to me almost of their own accord there in Antwerp, that the waiting room which, I know, has now been turned into a staff canteen struck me as another Nocturama, a curious confusion which may of course have been the result of the sun's sinking behind the city rooftops just as I entered the room. The gleam of gold and silver on the huge, half-obscured mirrors on the wall facing the windows was not yet entirely extinguished before a subterranean twilight filled the waiting room, where a few travelers sat far apart, silent and motionless. Like the creatures in the Nocturama, which had included a strikingly large number of dwarf species-tiny fennec foxes, spring-hares, hamsters-the railway passengers seemed to me somehow miniaturized, whether by the unusual height of the ceiling or because of the gathering dusk, and it was this, I suppose, which prompted the passing thought, nonsensical in itself, that they were the last members of a diminutive race which had perished or had been expelled from its homeland, and that because they alone survived they wore the same sorrowful expression as the creatures in the zoo. One of the people waiting in the Salle des pas perdus was Austerlitz, a man who then, in 1967, appeared almost youthful, with fair, curiously wavy hair of a kind I had seen elsewhere only on the German hero Siegfried in Fritz Lang's Nibelungen film. That day in Antwerp, as on all our later meetings, Austerlitz wore heavy walking boots and workman's trousers made of faded blue calico, together with a tailor-made but long outdated suit jacket. Apart from these externals he also differed from the other travelers in being the only one who was not staring apathetically into space, but instead was occupied in making notes and sketches obviously relating to the room where we were both sitting-a magnificent hall more suitable, to my mind, for a state ceremony than as a place to wait for the next connection to Paris or Oostende-for when he was not actually writing something down his glance often dwelt on the row of windows, the fluted pilasters, and other structural details of the waiting room. Once Austerlitz took a camera out of his rucksack, an old Ensign with telescopic bellows, and took several pictures of the mirrors, which were now quite dark, but so far I have been unable to find them among the many hundreds of pictures, most of them unsorted, that he entrusted to me soon after we met again in the winter of 1996. When I finally went over to Austerlitz with a question about his obvious interest in the waiting room, he was not at all surprised by my direct approach but answered me at once, without the slightest hesitation, as I have variously found since that solitary travelers, who so often pass days on end in uninterrupted silence, are glad to be spoken to. Now and then they are even ready to open up to a stranger unreservedly on such occasions, although that was not the case with Austerlitz in the Salle des pas perdus, nor did he subsequently tell me very much about his origins and his own life. Our Antwerp conversations, as he sometimes called them later, turned primarily on architectural history, in accordance with his own astonishing professional expertise, and it was the subject we discussed that evening as we sat together until nearly midnight in the restaurant facing the waiting room on the other side of the great domed hall. The few guests still lingering at that late hour one by one deserted the buffet, which was constructed like a mirror image of the waiting room, until we were left alone with a solitary man drinking Fernet and the barmaid, who sat enthroned on a stool behind the counter, legs crossed, filing her nails with complete devotion and concentration. Austerlitz commented in passing of this lady, whose peroxide-blond hair was piled up into a sort of bird's nest, that she was the goddess of time past. And on the wall behind her, under the lion crest of the kingdom of Belgium, there was indeed a mighty clock, the dominating feature of the buffet, with a hand some six feet long traveling round a dial which had once been gilded, but was now blackened by railway soot and tobacco smoke. During the pauses in our conversation we both noticed what an endless length of time went by before another minute had passed, and how alarming seemed the movement of that hand, which resembled a sword of justice, even though we were expecting it every time it jerked forward, slicing off the next one-sixtieth of an hour from the future and coming to a halt with such a menacing quiver that one's heart almost stopped. Towards the end of the nineteenth century, Austerlitz began, in reply to my questions about the history of the building of Antwerp station, when Belgium, a little patch of yellowish gray barely visible on the map of the world, spread its sphere of influence to the African continent with its colonial enterprises, when deals of huge proportions were done on the capital markets and raw-materials exchanges of Brussels, and the citizens of Belgium, full of boundless optimism, believed that their country, which had been subject so long to foreign rule and was divided and disunited in itself, was about to become a great new economic power-at that time, now so long ago although it determines our lives to this day, it was the personal wish of King Leopold, under whose auspices such apparently inexorable progress was being made, that the money suddenly and abundantly available should be used to erect public buildings which would bring international renown to his aspiring state. One of the projects thus initiated by the highest authority in the land was the central station of the Flemish metropolis, where we were sitting now, said Austerlitz; designed by Louis Delacenserie, it was inaugurated in the summer of 1905, after ten years of planning and building, in the presence of the King himself. The model Leopold had recommended to his architects was the new railway station of Lucerne, where he had been particularly struck by the concept of the dome, so dramatically exceeding the usual modest height of railway buildings, a concept realized by Delacenserie in his own design, which was inspired by the Pantheon in Rome, in such stupendous fashion that even today, said Austerlitz, exactly as the architect intended, when we step into the entrance hall we are seized by a sense of being beyond the profane, in a cathedral consecrated to international traffic and trade. Delacenserie borrowed the main elements of his monumental structure from the palaces of the Italian Renaissance, but he also struck Byzantine and Moorish notes, and perhaps when I arrived, said Austerlitz, I myself had noticed the round gray and white granite turrets, the sole purpose of which was to arouse medieval associations in the minds of railway passengers. However laughable in itself, Delacenserie's eclecticism, uniting past and future in the Centraal Station with its marble stairway in the foyer and the steel and glass roof spanning the platforms, was in fact a logical stylistic approach to the new epoch, said Austerlitz, and it was also appropriate, he continued, that in Antwerp Station the elevated level from which the gods looked down on visitors to the Roman Pantheon should display, in hierarchical order, the deities of the nineteenth century-mining, industry, transport, trade, and capital. For halfway up the walls of the entrance hall, as I must have noticed, there were stone escutcheons bearing symbolic sheaves of corn, crossed hammers, winged wheels, and so on, with the heraldic motif of the beehive standing not, as one might at first think, for nature made serviceable to mankind, or even industrious labor as a social good, but symbolizing the principle of capital accumulation. And Time, said Austerlitz, represented by the hands and dial of the clock, reigns supreme among these emblems. The clock is placed above the only baroque element in the entire ensemble, the cruciform stairway which leads from the foyer to the platforms, just where the image of the emperor stood in the Pantheon in a line directly prolonged from the portal; as governor of a new omnipotence it was set even above the royal coat of arms and the motto Endracht maakt macht. The movements of all travelers could be surveyed from the central position occupied by the clock in Antwerp Station, and conversely all travelers had to look up at the clock and were obliged to adjust their activities to its demands. In fact, said Austerlitz, until the railway timetables were synchronized the clocks of Lille and Liège did not keep the same time as the clocks of Ghent and Antwerp, and not until they were all standardized around the middle of the nineteenth century did time truly reign supreme. It was only by following the course time prescribed that we could hasten through the gigantic spaces separating us from each other. And indeed, said Austerlitz after a while, to this day there is something illusionistic and illusory about the relationship of time and space as we experience it in traveling, which is why whenever we come home from elsewhere we never feel quite sure if we have really been abroad. From the first I was astonished by the way Austerlitz put his ideas together as he talked, forming perfectly balanced sentences out of whatever occurred to him, so to speak, and the way in which, in his mind, the passing on of his knowledge seemed to become a gradual approach to a kind of historical metaphysic, bringing remembered events back to life. I shall never forget how he concluded his comments on the manufacture of the tall waiting-room mirrors by wondering, glancing up once more at their dimly shimmering surfaces as he left, combien des ouvriers périrent, lors de la manufacture de tels miroirs, de malignes et funestes affectations à la suite de l'inhalation de vapeurs de mercure et de cyanide. And just as Austerlitz had broken off with these words that first evening, so he continued his observations the following day, for which we had arranged a meeting on the promenade beside the Schelde.
From the Hardcover edition.
In the second half of the 1960s I traveled repeatedly from England to Belgium, partly for study purposes, partly for other reasons which were never entirely clear to me, staying sometimes for just one or two days, sometimes for several weeks. On one of these Belgian excursions which, as it seemed to me, always took me further and further abroad, I came on a glorious early summer's day to the city of Antwerp, known to me previously only by name. Even on my arrival, as the train rolled slowly over the viaduct with its curious pointed turrets on both sides and into the dark station concourse, I had begun to feel unwell, and this sense of indisposition persisted for the whole of my visit to Belgium on that occasion. I still remember the uncertainty of my footsteps as I walked all round the inner city, down Jeruzalemstraat, Nachtegaalstraat, Pelikaanstraat, Paradijsstraat, Immerseelstraat, and many other streets and alleyways, until at last, plagued by a headache and my uneasy thoughts, I took refuge in the zoo by the Astridplein, next to the Centraal Station, waiting for the pain to subside. I sat there on a bench in dappled shade, beside an aviary full of brightly feathered finches and siskins fluttering about. As the afternoon drew to a close I walked through the park, and finally went to see the Nocturama, which had first been opened only a few months earlier. It was some time before my eyes became used to its artificial dusk and I could make out different animals leading their sombrous lives behind the glass by the light of a pale moon. I cannot now recall exactly what creatures I saw on that visit to the Antwerp Nocturama, but there were probably bats and jerboas from Egypt and the Gobi Desert, native European hedgehogs and owls, Australian opossums, pine martens, dormice, and lemurs, leaping from branch to branch, darting back and forth over the grayish-yellow sandy ground, or disappearing into a bamboo thicket. The only animal which has remained lingering in my memory is the raccoon. I watched it for a long time as it sat beside a little stream with a serious expression on its face, washing the same piece of apple over and over again, as if it hoped that all this washing, which went far beyond any reasonable thoroughness, would help it to escape the unreal world in which it had arrived, so to speak, through no fault of its own. Otherwise, all I remember of the denizens of the Nocturama is that several of them had strikingly large eyes, and the fixed, inquiring gaze found in certain painters and philosophers who seek to penetrate the darkness which surrounds us purely by means of looking and thinking. I believe that my mind also dwelt on the question of whether the electric light was turned on for the creatures in the Nocturama when real night fell and the zoo was closed to the public, so that as day dawned over their topsy-turvy miniature universe they could fall asleep with some degree of reassurance. Over the years, images of the interior of the Nocturama have become confused in my mind with my memories of the Salle des pas perdus, as it is called, in Antwerp Centraal Station. If I try to conjure up a picture of that waiting room today I immediately see the Nocturama, and if I think of the Nocturama the waiting room springs to my mind, probably because when I left the zoo that afternoon I went straight into the station, or rather first stood in the square outside it for some time to look up at the façade of that fantastical building, which I had taken in only vaguely when I arrived in the morning. Now, however, I saw how far the station constructed under the patronage of King Leopold exceeded its purely utilitarian function, and I marveled at the verdigris-covered Negro boy who, for a century now, has sat upon his dromedary on an oriel turret to the left of the station façade, a monument to the world of the animals and native peoples of the African continent, alone against the Flemish sky. When I entered the great hall of the Centraal Station with its dome arching sixty meters high above it, my first thought, perhaps triggered by my visit to the zoo and the sight of the dromedary, was that this magnificent although then severely dilapidated foyer ought to have cages for lions and leopards let into its marble niches, and aquaria for sharks, octopuses, and crocodiles, just as some zoos, conversely, have little railway trains in which you can, so to speak, travel to the farthest corners of the earth. It was probably because of ideas like these, occurring to me almost of their own accord there in Antwerp, that the waiting room which, I know, has now been turned into a staff canteen struck me as another Nocturama, a curious confusion which may of course have been the result of the sun's sinking behind the city rooftops just as I entered the room. The gleam of gold and silver on the huge, half-obscured mirrors on the wall facing the windows was not yet entirely extinguished before a subterranean twilight filled the waiting room, where a few travelers sat far apart, silent and motionless. Like the creatures in the Nocturama, which had included a strikingly large number of dwarf species-tiny fennec foxes, spring-hares, hamsters-the railway passengers seemed to me somehow miniaturized, whether by the unusual height of the ceiling or because of the gathering dusk, and it was this, I suppose, which prompted the passing thought, nonsensical in itself, that they were the last members of a diminutive race which had perished or had been expelled from its homeland, and that because they alone survived they wore the same sorrowful expression as the creatures in the zoo. One of the people waiting in the Salle des pas perdus was Austerlitz, a man who then, in 1967, appeared almost youthful, with fair, curiously wavy hair of a kind I had seen elsewhere only on the German hero Siegfried in Fritz Lang's Nibelungen film. That day in Antwerp, as on all our later meetings, Austerlitz wore heavy walking boots and workman's trousers made of faded blue calico, together with a tailor-made but long outdated suit jacket. Apart from these externals he also differed from the other travelers in being the only one who was not staring apathetically into space, but instead was occupied in making notes and sketches obviously relating to the room where we were both sitting-a magnificent hall more suitable, to my mind, for a state ceremony than as a place to wait for the next connection to Paris or Oostende-for when he was not actually writing something down his glance often dwelt on the row of windows, the fluted pilasters, and other structural details of the waiting room. Once Austerlitz took a camera out of his rucksack, an old Ensign with telescopic bellows, and took several pictures of the mirrors, which were now quite dark, but so far I have been unable to find them among the many hundreds of pictures, most of them unsorted, that he entrusted to me soon after we met again in the winter of 1996. When I finally went over to Austerlitz with a question about his obvious interest in the waiting room, he was not at all surprised by my direct approach but answered me at once, without the slightest hesitation, as I have variously found since that solitary travelers, who so often pass days on end in uninterrupted silence, are glad to be spoken to. Now and then they are even ready to open up to a stranger unreservedly on such occasions, although that was not the case with Austerlitz in the Salle des pas perdus, nor did he subsequently tell me very much about his origins and his own life. Our Antwerp conversations, as he sometimes called them later, turned primarily on architectural history, in accordance with his own astonishing professional expertise, and it was the subject we discussed that evening as we sat together until nearly midnight in the restaurant facing the waiting room on the other side of the great domed hall. The few guests still lingering at that late hour one by one deserted the buffet, which was constructed like a mirror image of the waiting room, until we were left alone with a solitary man drinking Fernet and the barmaid, who sat enthroned on a stool behind the counter, legs crossed, filing her nails with complete devotion and concentration. Austerlitz commented in passing of this lady, whose peroxide-blond hair was piled up into a sort of bird's nest, that she was the goddess of time past. And on the wall behind her, under the lion crest of the kingdom of Belgium, there was indeed a mighty clock, the dominating feature of the buffet, with a hand some six feet long traveling round a dial which had once been gilded, but was now blackened by railway soot and tobacco smoke. During the pauses in our conversation we both noticed what an endless length of time went by before another minute had passed, and how alarming seemed the movement of that hand, which resembled a sword of justice, even though we were expecting it every time it jerked forward, slicing off the next one-sixtieth of an hour from the future and coming to a halt with such a menacing quiver that one's heart almost stopped. Towards the end of the nineteenth century, Austerlitz began, in reply to my questions about the history of the building of Antwerp station, when Belgium, a little patch of yellowish gray barely visible on the map of the world, spread its sphere of influence to the African continent with its colonial enterprises, when deals of huge proportions were done on the capital markets and raw-materials exchanges of Brussels, and the citizens of Belgium, full of boundless optimism, believed that their country, which had been subject so long to foreign rule and was divided and disunited in itself, was about to become a great new economic power-at that time, now so long ago although it determines our lives to this day, it was the personal wish of King Leopold, under whose auspices such apparently inexorable progress was being made, that the money suddenly and abundantly available should be used to erect public buildings which would bring international renown to his aspiring state. One of the projects thus initiated by the highest authority in the land was the central station of the Flemish metropolis, where we were sitting now, said Austerlitz; designed by Louis Delacenserie, it was inaugurated in the summer of 1905, after ten years of planning and building, in the presence of the King himself. The model Leopold had recommended to his architects was the new railway station of Lucerne, where he had been particularly struck by the concept of the dome, so dramatically exceeding the usual modest height of railway buildings, a concept realized by Delacenserie in his own design, which was inspired by the Pantheon in Rome, in such stupendous fashion that even today, said Austerlitz, exactly as the architect intended, when we step into the entrance hall we are seized by a sense of being beyond the profane, in a cathedral consecrated to international traffic and trade. Delacenserie borrowed the main elements of his monumental structure from the palaces of the Italian Renaissance, but he also struck Byzantine and Moorish notes, and perhaps when I arrived, said Austerlitz, I myself had noticed the round gray and white granite turrets, the sole purpose of which was to arouse medieval associations in the minds of railway passengers. However laughable in itself, Delacenserie's eclecticism, uniting past and future in the Centraal Station with its marble stairway in the foyer and the steel and glass roof spanning the platforms, was in fact a logical stylistic approach to the new epoch, said Austerlitz, and it was also appropriate, he continued, that in Antwerp Station the elevated level from which the gods looked down on visitors to the Roman Pantheon should display, in hierarchical order, the deities of the nineteenth century-mining, industry, transport, trade, and capital. For halfway up the walls of the entrance hall, as I must have noticed, there were stone escutcheons bearing symbolic sheaves of corn, crossed hammers, winged wheels, and so on, with the heraldic motif of the beehive standing not, as one might at first think, for nature made serviceable to mankind, or even industrious labor as a social good, but symbolizing the principle of capital accumulation. And Time, said Austerlitz, represented by the hands and dial of the clock, reigns supreme among these emblems. The clock is placed above the only baroque element in the entire ensemble, the cruciform stairway which leads from the foyer to the platforms, just where the image of the emperor stood in the Pantheon in a line directly prolonged from the portal; as governor of a new omnipotence it was set even above the royal coat of arms and the motto Endracht maakt macht. The movements of all travelers could be surveyed from the central position occupied by the clock in Antwerp Station, and conversely all travelers had to look up at the clock and were obliged to adjust their activities to its demands. In fact, said Austerlitz, until the railway timetables were synchronized the clocks of Lille and Liège did not keep the same time as the clocks of Ghent and Antwerp, and not until they were all standardized around the middle of the nineteenth century did time truly reign supreme. It was only by following the course time prescribed that we could hasten through the gigantic spaces separating us from each other. And indeed, said Austerlitz after a while, to this day there is something illusionistic and illusory about the relationship of time and space as we experience it in traveling, which is why whenever we come home from elsewhere we never feel quite sure if we have really been abroad. From the first I was astonished by the way Austerlitz put his ideas together as he talked, forming perfectly balanced sentences out of whatever occurred to him, so to speak, and the way in which, in his mind, the passing on of his knowledge seemed to become a gradual approach to a kind of historical metaphysic, bringing remembered events back to life. I shall never forget how he concluded his comments on the manufacture of the tall waiting-room mirrors by wondering, glancing up once more at their dimly shimmering surfaces as he left, combien des ouvriers périrent, lors de la manufacture de tels miroirs, de malignes et funestes affectations à la suite de l'inhalation de vapeurs de mercure et de cyanide. And just as Austerlitz had broken off with these words that first evening, so he continued his observations the following day, for which we had arranged a meeting on the promenade beside the Schelde.
From the Hardcover edition.
Recenzii
“[A] beautiful novel . . . quietly breathtaking . . . Sebald contrives not to offer an ordinary, straightforward recital. For what is so delicate is how Sebald makes Austerlitz’s story a broken, recessed enigma whose meaning the reader must impossibly rescue.”—James Wood, from the Introduction
“Sebald stands with Primo Levi as the prime speaker of the Holocaust and, with him, the prime contradiction of Adorno’s dictum that after it, there can be no art.”—Richard Eder, The New York Times Book Review
“Sebald is a rare and elusive species . . . but still, he is an easy read, just as Kafka is. . . . He is an addiction, and once buttonholed by his books, you have neither the wish nor the will to tear yourself away.”—Anthony Lane, The New Yorker
“Sebald’s final novel; his masterpiece, and one of the supreme works of art of our time.”—John Banville, The Guardian
NAMED ONE OF THE BEST BOOKS OF 2001 BY
THE LOS ANGELES TIMES • NEW YORK MAGAZINE • ENTERTAINMENT WEEKLY
Winner of the Koret Jewish Book Award,
the Independent Foreign Fiction Prize,
and the Jewish Quarterly Wingate Literary Prize
Translator Anthea Bell—Recipient of the Schlegel-Tieck Prize and
the Helen and Kurt Wolff Prize for
Outstanding Translation from German into English
“Sebald stands with Primo Levi as the prime speaker of the Holocaust and, with him, the prime contradiction of Adorno’s dictum that after it, there can be no art.”—Richard Eder, The New York Times Book Review
“Sebald is a rare and elusive species . . . but still, he is an easy read, just as Kafka is. . . . He is an addiction, and once buttonholed by his books, you have neither the wish nor the will to tear yourself away.”—Anthony Lane, The New Yorker
“Sebald’s final novel; his masterpiece, and one of the supreme works of art of our time.”—John Banville, The Guardian
NAMED ONE OF THE BEST BOOKS OF 2001 BY
THE LOS ANGELES TIMES • NEW YORK MAGAZINE • ENTERTAINMENT WEEKLY
Winner of the Koret Jewish Book Award,
the Independent Foreign Fiction Prize,
and the Jewish Quarterly Wingate Literary Prize
Translator Anthea Bell—Recipient of the Schlegel-Tieck Prize and
the Helen and Kurt Wolff Prize for
Outstanding Translation from German into English