W. G. Sebald

Sebald was born in Wertach, Bavaria, second of the three children of Rosa and Georg Sebald, and his parents' only son. From 1948 to 1963, he lived in Sonthofen.[3] His father had joined the Reichswehr in 1929 and served in the Wehrmacht under the Nazis. His father remained a detached figure, a prisoner of war until 1947; his maternal grandfather, the small-town police officer Josef Egelhofer (1872–1956), was the most important male presence during his early years.[4] Sebald was shown images of The Holocaust while at school in Oberstdorf and recalled that no one knew how to explain what they had just seen. The Holocaust and European modernity, especially its modes of warfare and persecution, later became central themes in his work.

Sebald studied German and English literature first at the University of Freiburg and then at the University of Fribourg in Switzerland, where he received a degree in 1965.[5] He was a Lector at the University of Manchester from 1966 to 1969. He returned to St. Gallen in Switzerland for a year hoping to work as a teacher but could not settle. Sebald married his Austrian-born wife, Ute, in 1967. In 1970 he became a lecturer at the University of East Anglia (UEA). There, he completed his PhD in 1973 with a dissertation entitled The Revival of Myth: A Study of Alfred Döblin's Novels.[6][7] Sebald acquired habilitation from the University of Hamburg in 1986.[8] In 1987, he was appointed to a chair of European literature at UEA. In 1989 he became the founding director of the British Centre for Literary Translation. He lived at Wymondham and Poringland while at UEA.

W.G. Sebald to Andreas Dorschel, June 2001, page 1

The 2001 publication of Austerlitz (both in German and English) secured Sebald worldwide fame:[9] "Austerlitz was received enthusiastically on an international scale; literary critics celebrated it frenetically; the book established Sebald as a modern classic."[10] He was tipped as a possible future winner of the Nobel Prize in Literature.[2][11][12] With grown and still growing reputation, he was now in high demand by literary institutions and radio programmes throughout Western Europe.[13] Newspapers, magazines and journals from Germany, Austria, Belgium, the Netherlands, Britain and the U.S. urged him for interviews.[14] "Condemned to unrest I am, I am afraid", he wrote to Andreas Dorschel in June 2001, returning from one trip and setting out for the next.

For considerable time, Sebald had been aware of a congenital cardiac insufficiency;[15] to a visitor from the US, he described himself in August 2001 as "someone who knows he has to leave before too long".[16] Sebald died while driving near Norwich in December 2001.[17] The event threw the literary public into a state of shock.[18] Sebald had been driving with his daughter Anna, who survived the crash.[11] The coroner's report, released some six months after the accident, stated that Sebald had suffered a heart attack and had died of this condition before his car swerved across the road and collided with an oncoming lorry.[19]

W.G. Sebald is buried in St. Andrew's churchyard in Framingham Earl, close to where he lived.[20]

Sebald's works are largely concerned with the themes of memory and loss of memory (both personal and collective) and decay (of civilizations, traditions or physical objects). They are, in particular, attempts to reconcile himself with, and deal in literary terms with, the trauma of the Second World War and its effect on the German people. In On the Natural History of Destruction (1999), he wrote an essay on the wartime bombing of German cities and the absence in German writing of any real response. His concern with The Holocaust is expressed in several books delicately tracing his own biographical connections with Jews.[21] Contrary to Germany's political and intellectual establishment,[22] Sebald denied the singularity of the Holocaust: "I see the catastrophe caused by the Germans, dreadful as it was, by no means as a singular event – it developed with a certain logic from European history and then, for the same reason, ate itself into European history."[23] Consequently, Sebald, in his literary work, always tried to situate and to contextualize the Holocaust within modern European history, even avoiding a focus on Germany.

Sebald completely rejected the mainstream of Western German literature of the 1950s to 1970s, as represented by Heinrich Böll and Günter Grass: "I hate [...] the German postwar novel like pestilence."[24] He took a deliberate counter-stance. Sebald's distinctive and innovative novels (which he mostly called simply: prose ("Prosa")[25]) were written in an intentionally somewhat old-fashioned and elaborate German (one passage in Austerlitz famously contains a sentence that is 9 pages long). Sebald closely supervised the English translations (principally by Anthea Bell and Michael Hulse). They include Vertigo, The Emigrants, The Rings of Saturn and Austerlitz. They are notable for their curious and wide-ranging mixture of fact (or apparent fact), recollection and fiction, often punctuated by indistinct black-and-white photographs set in evocative counterpoint to the narrative rather than illustrating it directly. His novels are presented as observations and recollections made while travelling around Europe. They also have a dry and mischievous sense of humour.[26]

Sebald was also the author of three books of poetry: For Years Now with Tess Jaray (2001), After Nature (1988), and Unrecounted (2004).

• 1988 After Nature. London: Hamish Hamilton. (Nach der Natur. Ein Elementargedicht) English ed. 2002
• 1990 Vertigo. London: Harvill. (Schwindel. Gefühle) English ed. 1999
• 1992 The Emigrants. London: Harvill. (Die Ausgewanderten. Vier lange Erzählungen) English ed. 1996
• 1995 The Rings of Saturn. London: Harvill. (Die Ringe des Saturn. Eine englische Wallfahrt) English ed. 1998
• 1998 A Place in the Country. (Logis in einem Landhaus) English ed. 2013
• 1999 On the Natural History of Destruction. London: Hamish Hamilton. (Luftkrieg und Literatur: Mit einem Essay zu Alfred Andersch) English ed. 2003
• 2001 Austerlitz. London: Hamish Hamilton. (Austerlitz) English ed. 2001
• 2001 For Years Now. London: Short Books.
• 2003 Unrecounted London: Hamish Hamilton. (Unerzählt, 33 Texte) English ed. 2004
• 2003 Campo Santo London: Hamish Hamilton. (Campo Santo, Prosa, Essays) English ed. 2005
• 2008 Across the Land and the Water: Selected Poems, 1964–2001. (Über das Land und das Wasser. Ausgewählte Gedichte 1964–2001.) English ed. 2012

The works of Jorge Luis Borges, especially "The Garden of Forking Paths" and "Tlön, Uqbar, Orbis Tertius", were a major influence on Sebald. (Tlön and Uqbar appear in The Rings of Saturn.)[27] In a conversation during his final year, Sebald named Gottfried Keller, Adalbert Stifter, Heinrich von Kleist and Jean Paul as his literary models.[28] He also credited the Austrian novelist Thomas Bernhard as a major influence on his work,[29] and paid homage within his work to Kafka[30] and Nabokov (the figure of Nabokov appears in every one of the four sections of The Emigrants).[31]

Wikimedia Commons has media related to Winfried Georg Sebald.

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Max Sebald

• Complete bibliography of Sebald's works
• An essay by Ben Lerner on Sebald in The New York Review of Books
• Jaggi, Maya (20 December 2001). "The last word". The Guardian. The last interview
• Mitchelmore, Stephen (1 November 2004). "W. G. Sebald: Looking and Looking Away". Spike Magazine.
• Audio interview with Sebald on KCRW's Bookworm
• Sebald-Forum
• BBC Radio4 Program: "A German Genius in Britain"