Following on the theme of my last post on W.G. Sebald, I thought I’d drag out this old find to see if any of this blog’s readers can help my understanding of an unusual change that occurred to a photograph in Sebald’s Die Ausgewanderten: Vier lange Erzählungen (1992) when it was translated by Michael Hulse and published in English by Harvill as The Emigrants (1996).
Part three of The Emigrants is a kind of family history, or intimate biography, of the narrator’s great-uncle Ambros Adelwarth that ostensibly draws on and incorporates postcards, photographs, and a diary/travelogue directly into the text. In 1913, on the eve of WW I, Adelwarth and another man travel from France to Istanbul and to the Holy Land. “On the 27th of November Ambros notes that he has been to Raad’s Photographic Studio in the Jaffa Road and has had his picture taken, at Cosmo’s wish, in his new striped robe” (p. 140-41).
Oddly enough, the German-language text of the book (at least the one I consulted – Fischer Taschenbuch Verlag, 1997) reveals a different image, one which encloses the portrait-sitter within a photostudio border.
Why the change? Supposing that there is a reason and that it wasn’t just due to some pressing difficulty in the layout process, – ? – I can only surmise that the publishers at New Directions acted deliberately in cropping out the frame. If so, they effectively scratched out the adjacent words Jerusalem and Palestine. Maybe it wasn’t deliberate, or Sebald ordered the crop. But if the move came from the publisher, I wonder if it wasn’t motivated by the judgment that it would be preferable to omit two words sure to remind readers of a conflict and an annexation that continue today and never fail to inspire strong sentiment. The irony is that the manipulation of historical, photographic evidence to political ends, which Sebald’s books often underline and portray, might have occurred in the process of reaching his English-speaking audience.
I might very well be reading too much into this, or not. In any case if you’ve anything to add, I’d appreciate your thoughts on this unusual find.
The first paragraph has been slightly revised since this article’s first posting.
I’ve held on to this post so long, held on for so long to these ideas, I am letting this post go, rough as it is. It will never be finished. It is the story of a kind of failure, itself evidence of failure, a quest for understanding that remains forever incomplete. As more fragments will follow, I finally let go of these. Sebald’s work is, I have found, very difficult to talk about.
We have a habit of writing articles published in scientific journals to make the work as finished as possible, to cover up all the tracks, to not worry about the blind alleys or how you had the wrong idea at first, and so on. So there isn’t any place to publish, in a dignified manner, what you actually did in order to do the work. – Richard Feynman
Reluctant to enclose Gide in a system I knew would never content me, I was vainly trying to find some connection among these notes. Finally I decided it would be better to offer them as such–notes–and not try to disguise their lack of continuity. Incoherence seems to me preferable to a distorting order. – Roland Barthes, ‘On Gide and His Journal’
I knew the research paper would be about W.G. Sebald’s novels, but that was all I knew. I had fallen under Sebald’s spell, not on first reading The Emigrants in a ‘Continental Modernism’ course taught by the ribald WW II vet Robert Ganz, but in 2009 on reading The Rings of Saturn after seeing a poster for a lecture by Ross Posnock on Austerlitz, a poster prominently displaying Sebald’s provocative juxtaposition of Wittgenstein’s gaze with that of perhaps a rhesus monkey.
It was only a short time before I had read After Nature, the long poem Sebald published in the late eighties before his arrival as a published novelist; Vertigo, his first novel; and, of course, Austerlitz, his last. I was hypnotized and hooked on Sebald’s writing, fallen under the intense spell cast by Sebald’s long sentences and his visual materials.
Through work in a graduate seminar in contemporary French literature–La Fabrication de l’irréelle dans la littérature française contemporaine–I became familiar with a strange new term which would prove to be for me a challenge and a source of anxiety, later, to explain. Le post-exotisme en dix lecons by Antoine Volodine is not a difficult book, but it is, like Volodine’s other works, strange, however much it is consistent with Volodine’s conception of a mythological future-past of ruins, internment camps, political resistance. He expresses his vision through hybrid literary forms.
Post-exoticism resonated with what I found compelling in Sebald. Volodine’s vision, realized in his novels and elucidated in theoretical terms, amounts to:
- Une littérature de l’ailleurs, venue d’aileurs, allant vers l’ailleurs
- Une littérature internationaliste, cosmopolite, dont la mémoire plonge les racines dans les tragédies du XXe siecle, les guerres, les révolutions, les génocides et les défaites du XXe siecle
- Une littérature étrangere écrite en francais
- Une littérature qui mêle indissolublement l’onirique et le politique
- Une littérature des poubelles, en rupture avec la littérature officielle
- Une littérature carcérale de la rumination, de la déviance mental et de l’échec
- Un édifice romanesque qui a surtout a voir avec le chamanisme, avec une variante bolchevique de chamanisme (387)
From Volodine, Antoine. ‘A la frange du réel.’ In Défense et illustration du post-exotisme en vingt lecons (vlb, 2008).
Translation: post-exoticism is:
- a literature of elsewhere, arriving from, departing from elsewhere;
- an internationalist, cosmopolitan literature whose memory is rooted in 20th-century tragedies, wars, revolutions, genocides, defeats;
- a foreign literature written in French;
- a literature where the dream-like and the political are seamlessly joined
- trashcan literature, opposed to ‘official’ literature(s)
- an imprisoned, ruminatory literature, of pyschopathology and failure
- a novelistic structure closely tied to shamanism, especially a Bolshevik variant of shamanism.
Elsewhere: a cabal of prisoners secretly circulating texts, working to overcome the isolation imposed on them.
The proposal I wrote in anticipation of my research paper was lucid, engaged, clear, direct, promising. But as I researched and wrote my paper, and continued to over-research it, my focus was exploded and irreversibly lost. In the end I tried to stay close to Sebald’s text. But at times, for whole months, I felt I needed to write lengthy theoretical contextualizations and justifications for why I was talking about post-exoticism, a term that I was never comfortable with, because its sense was split.
On the one hand, Volodine and his elucidation of post-exoticism; on the other hand, a non-literary but totally contemporary post-exoticism, related to the breaking up of empires, the acceleration of travel, and the end of an era during which romantics like Pierre Loti, Paul Gauguin, Victor Segalen, and Jean-Léon Gérôme, and a whole host of other European artists, were able to see in other cultures a difference which they found attractive, sometimes repelling, and that they patronized and acted condescendingly towards. (Edward Said’s historical work on Orientalism is what I’m talking about here; in a post-exotic era, Orientalism and exoticism are not done away with, but their historical contours are entirely changed.) I’d also read exoticists like Loti and was aware of Victor Segalen (his law regarding the attractions of human diversity, expounded in his posthumously published Essai sur l’exotisme (1978)) from having reading Baudrillard’s books, where he refers repeatedly to Segalen and exoticism.
The first problem, which I could not circumvent must have been establishing a stable relation between exoticism and post-exoticism.
An antique photo-studio portrait included in the German edition of W.G. Sebald’s The Emigrants (1992), depicting the narrator’s great-uncle Ambros Adelwarth.
I couldn’t even define the type of exoticism that I was seeing in Sebald, it was too variegated and broad and heterogeneous.
Even now I can read in my notebook the organisational sketches I was making in 2009, but I can’t create true order out of them:
KINDS OF SEBALDIAN EXOTICISM
a) the collection (museum)
b) monumental architecture (inadvertent; neglect, disuse, decay…) (cf. The Eyes of the Skin; The Architectural Uncanny, Anthony Vidler)
c) tourist narrators
d) Jews, gypsies, circus performers
e) resort culture
f) ‘overheated, deterritorialized animals’ (cf. On Creaturely Life, Eric Santner)
g) formal syntax (syntactical)
h) Obsolete Objects in the Literary Imagination: Ruins, Relics, Rarities, Rubbish, Uninhabited Places, and Hidden Treasures. (Yale P, 2006.)
The problem was, I couldn’t describe the exoticist tropology at work in Sebald’s prose, because I wanted to read all five of his books–his entire ‘creative’ output– as if it were a single thing. This would have left no time for ‘close reading’ and it would have been abstracted from the individual context of any single book. But I felt a coherent exoticist strategy, complete with post-exoticist gesturing, was there; a coherent preoccupation with and nostalgic yearning for the historical ‘exotic,’ itself complicated by the knowledge that this was at best an impossible fantasy. Perhaps I ought to have chosen just one (or two) types of exoticism and pursued it as far as I could. But I could not relinquish my commitment to some larger, more elusive totality that always remained just beyond my conceptual, organisational grasp.
It was almost ironic that I discovered such excellent books on exoticism just as the time I had left to trim up my drafts was drawing to a close:
‘The phenomenon of the human zoo illuminates an interdependence, similar to that discussed and popularized by Edward Said in Orientalism (1978), between science, spectacle and colonial power’ (Forsdick 378).
‘Populations put on display were depicted in a variety of forms, ranging from posters t illustrated programmes, from postcards (reproduced and translated into several languages to early films, from amateur photographs to the front pages of newspapers. Visitors, readers and spectators would be fascinated by these human subjects, while at the same time being convinced by them of the ‘racial hierarchies’ central to the contemporary context of colonial expansion.’ (‘Human Zoos: The Greatest Exotic Shows in the West,’ illustration pages).
Barthes, Roland. 1982. A Barthes Reader. Ed. Susan Sontag. Hill and Wang.
Baudrillard, Jean. ‘Radical Exoticism.’ Transparency of Evil. Verso.
Blanchard, Pascal, Bancel, Nicolas, Boëtsch, Gilles, Deroo, Éric, and Lemaire, Sandrine . ‘Human Zoos: The Greatest Exotic Shows in the West.’ By 1-49.
Camus, Audrey. Her winter 2008 graduate seminar on the work of Volodine, Eric Chevillard and Pierre Senges.
Feynman, Richard. 1966. ‘The Development of the Space-Time View of Quantum Electrodynamics.’ Science 153 (3737): 699-708.
Loti, Pierre. Aziyadé. 1880s?
Obsolete Objects in the Literary Imagination: Ruins, Relics, Rarities, Rubbish, Uninhabited Places, and Hidden Treasures. (Yale P, 2006.)
Segalen, Victor. ‘Essay on Diversity.’