By Sebald, Winfried Georg; Galbraith, Iain
A publishing landmark--the first significant number of poems by means of one of many past due 20th century's literary masters
German-born W. G. Sebald is better often called the leading edge writer of Austerlitz, the prose vintage of global warfare II culpability and judgment of right and wrong that The Guardian referred to as "a new literary shape, half hybrid novel, half memoir, half travelogue." Its ebook placed Sebald within the corporation of Nabokov, Calvino, and Borges. but Sebald's brilliance as a poet has been principally unacknowledged--until now.
Skillfully translated via Iain Galbraith, the approximately 100 poems in Across the Land and the Water diversity from these Sebald wrote as a pupil within the sixties to these accomplished correct sooner than his premature dying in 2001. that includes eighty-eight poems released in English for the 1st time and thirty-three from unpublished manuscripts, this assortment additionally brings jointly the entire verse he positioned in books and journals in the course of his...
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Additional resources for Across the land and the water : selected poems, 1964-2001
Many of the poems in this volume—which opens with a train journey—reenact travel “across” various kinds of land and water (even if the latter is only the fluid of dreams). Indeed, several, as the writer’s archive reveals, were actually written “on the road,” penned on hotel stationery, menus, the backs of theatre programs, in cities that Sebald visited. Train journeys constitute the most frequently recorded mode of travel. The following poem may refer to one such journey. “Irgendwo,” translated in English as “Somewhere,” was probably written in the late 1990s and originally belonged to the sequence of “micropoems” that provided the material for Sebald’s posthumous collection Unerzählt (Unrecounted), published in 2003: Somewhere behind Türkenfeld a spruce nursery a pond in the moor on which the March ice is slowly melting With its evocation of a wintry landscape and the suggestion that a thaw is on its way, this apparently simple poem seems nothing short of idyllic.
Thus the days pass. He gazes into her eyes & twists his finely embroidered napkin wallet once to the left once to the right. When his request for her daughter’s hand is met with reluctance by her mother & after the last cruelly sweet kiss he departs in a sombre mood through the mountains & still in his coach composes the famous elegy of twenty-three stanzas which in the manner of his own telling is said to have leapt from a tempest of feeling the ripest creation of his old age. As for me however I have never really liked this gorgeous braid of interwoven desires which the poet upon arriving home had transcribed in his most elegant hand & personally bound in a cover of red morocco tied around with a ribbon of silk.
Even names—Kunigunde, Badenweiler, Landsberg, Hindenburg—have a different sound, with different connotations, and are likely to be read from a different perspective in the target language. Entry to a new cultural context transfigures the poem and evidently regenerates its testimony. It may be argued, however, that this difficulty merely leads to a frequently visited aporia—that logical cul-de-sac whose sole outcome is to posit the impossibility of translation—and that by redefining the boundaries of the problem we can liberate the translator from the cavil of misrepresentation.