by W. G. Sebald
Translation and translator’s notes copyright © 2011 by Iain Galbraith
Copyright © 2008 by the Estate of W. G. Sebald
All rights reserved.
Published in the United States by Random House, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.
RANDOM HOUSE and colophon are registered trademarks of Random House, Inc.
This work was originally published, in different form, in German by Carl Hanser Verlag, Munich, in 2008. This Enligsh-language translation, which contains additional material, was originally published in the United Kingdom by Hamish Hamilton, a division of Penguin Books, Ltd., London, in 2011.
Library of Congress Cataloging-in-Publication Data
Sebald, Winfried Georg, 1944–2001.
Across the land and the water: selected poems, 1964–2001 / W. G. Sebald;
[translated from the German by Iain Galbraith].
p. cm.
eISBN: 978-1-58836-956-7
I. Galbraith, Iain. II. Title.
PT2681.E18A2 2012
831′.914—dc23 2011025272
www.atrandom.com
Jacket design: Gabrielle Bordwin
Jacket photograph: © George Kavanagh/Getty Images
v3.1
Contents
Cover
Title Page
Copyright
Translator’s Introduction
A Note on the Text
POEMTREES
“For how hard it is”
“A colony of allotments”
“Smoke will stir”
“The intention is sealed”
Nymphenburg
Epitaph
Schattwald in Tyrol
Remembered Triptych of a Journey from Brussels
Life Is Beautiful
Matins for G.
Winter Poem
Lines for an Album
Bleston: A Mancunian Cantical
I. Fête nocturne
II. Consensus Omnium
III. The Sound of Music
IV. Lingua Mortua
V. Perdu dans ces filaments
Didsbury
Giulietta’s Birthday
Time Signal at Twelve
Children’s Song
SCHOOL LATIN
Votive Tablet
Legacy
Sarassani
Day’s Residue
Border Crosser
Lay of Ill Luck
Memorandum of the Divan
Il ritorno d’Ulisse
For a Northern Reader
Florean Exercise
Scythian Journey
Saumur, selon Valéry
L’instruction du roy
Festifal
Pneumatological Prose
Comic Opera
Timetable
Unexplored
Elizabethan
Baroque Psalter
ACROSS THE LAND AND THE WATER
Cold Draught
Near Crailsheim
Poor Summer in Franconia
Solnhofen
Leaving Bavaria
Something in My Ear
Panacea
Mithraic
Memo
Barometer Reading
K.’s Emigration
Through Holland in the Dark
Abandoned
Mölkerbastei
A Galley Lies off Helsingborg
Holkham Gap
Norfolk
Crossing the Water
Natural History
Ballad
Obscure Passage
Poetry for an Album
Eerie Effects of the Hell Valley Wind on My Nerves
Unidentified Flying Objects
The Sky at Night
A Peaceable Kingdom
Trigonometry of the Spheres
Day Return
New Jersey Journey
THE YEAR BEFORE LAST
The Year Before Last
A Waltz Dream
Donderdag
The secrets
On 9 June 1904
Ninety years later
In Bamberg
Marienbad Elegy
At the edge
And always
How silvery
Somewhere
In the sleepless
Room 645
My ICE Rail-Planner
One Sunday in Autumn 94
Calm November weather
Unchanged for years
In the Summer of 1836
In Alfermée
On the Eve of
In the Paradise Landscape
Appendix
I remember
October Heat Wave
Notes
About the Author
Translator’s Introduction
“My medium is prose,” W. G. Sebald once declared in an interview, a statement that is easily misconstrued if a subtle distinction the German author added is overlooked: “… not the novel.” Far from disavowing his attraction to poetic forms, Sebald’s sworn allegiance to what he called “prose” deliberately placed his work at arm’s length from the generic exactions (plot, character development, dialogue) levied by the more conventional modes of writing fiction. Indeed, it is perhaps only in reading Sebald’s poetry—whose breathing and tone, especially in the later poems, frequently recall the timbre of the narrative voices in Vertigo, The Emigrants, and The Rings of Saturn—that we may begin to sense the poetic consistency of his literary prose itself, and also that of his writing as a whole. Reversing the focus, readers of Sebald’s prose fiction who are coming to his shorter poetry for the first time may be surprised to find that many of the concerns of his acclaimed later prose works are prefigured in his earliest, most lyrical poems: borders, journeys, archives, landscapes, reading, time, memory, myth, legend, and the “median state” (Edward Said) of the exile, who is neither fully integrated into the new system nor fully free of the old. Following the development of the poetry from its lyrical beginnings to the later narrative forms, we can trace the trajectory of the author’s gradual reach for the epic scope of his work in the 1990s, a quest that, I argue, initially culminated in the tripartite, book-length, narrative poem Nach der Natur (After Nature, 1988). On the way, we will discover poems to value for their singular artistic achievements: some puzzling, some dazzlingly hermetic, others deceptively slight or simple, several witty or ironic, each in its different way an encounter with life’s unresolved questions and mysteries, each gazing into the abyss of twentieth-century European history.
W. G. Sebald began publishing poetry as a student in the 1960s, and he continued to write poems throughout his life, publishing many in German and Austrian literary magazines. Among the work he had prepared for publication shortly before his untimely death in 2001 were the volumes For Years Now and Unerzählt (Unrecounted), while a host of shorter poems that he had intended to publish in the 1970s and 1980s did not come to light until after their posthumous removal to the German Literature Archive in Marbach. Before completing his first major literary work, Nach der Natur, in the mid-1980s, Sebald had prepared and paginated, apparently for publication, two collections of shorter poems—“Schullatein” (“School Latin”), and “Über das Land und das Wasser” (“Across the Land and the Water”), consisting altogether of some ninety poems—neither of which would find its way into print. Leaving aside work that has already appeared in English in the volumes After Nature, Unrecounted, and For Years Now, the present selection of Sebald’s poetry offers a representative viewing of work from the two unpublished volumes, while at the same time collecting almost all
the shorter poems published in books and journals during his lifetime, including, in an appendix, two poems written by the author in English and published, in 2000, in the Norwich-based literary journal Pretext. Readers may be curious to compare Sebald’s own English poems with those which have found their way into English through translation, setting the author’s writing in a foreign tongue against foreign translations from his mother tongue.
The present volume presents Sebald’s poetic production from the poems and publications of his student years (“Poemtrees”), across the two unpublished volumes already mentioned, and through the narrative forms of the 1990s and the turn of the millennium (gathered in the section “The Year Before Last”). Of the eighty-eight poems published here in translation for the first time, thirty-three draw on unpublished* manuscripts deposited for the Estate of W. G. Sebald at the German Literature Archive, while fifty-five are translations of poems in the German volume Über das Land und das Wasser (Across the Land and the Water), edited by Sven Meyer in 2008. The question that naturally arises is why Sebald did not publish “School Latin” or “Across the Land and the Water” after their completion—probably in 1975 and 1984 respectively. There may be no single answer to this question, but one explanation points to what could be called an “epic” or “narrative” turn in Sebald’s writing during the mid-1980s. In order to understand how this came about, it is necessary to briefly describe the sequence and composition of some of the manuscripts deposited in the writer’s archive in Marbach.
Sebald’s papers, as we shall see, reveal the movement of his poetic work since the mid-1960s as a kind of “rolling” project or cascade, culminating in the publication of Nach der Natur (After Nature) in 1988. Significantly, however, the three sections of this volume were completed somewhat earlier, with the middle section completed by 1984. It is likely that this and the next year were decisive, marking both the moment of Sebald’s turn to longer narrative forms and, simultaneously, the provisional curtailment of his plan to publish a volume of shorter poems. The three sections of Nach der Natur first appeared in the Austrian journal Manuskripte: “And If I Remained by the Outermost Sea” (October 1984); “As the Snow on the Alps” (June 1986); and “Dark Night Sallies Forth” (March 1987). Michael Hamburger’s English translation After Nature, whose three sections I have cited here, was published in 2002.
What the papers in the Marbach archive show us is that Sebald’s typescript volume “School Latin” inherited poems from an even earlier, albeit more fragmentary, file: “Poemtrees,” more a loose bundle of poems than a collection. Twelve poems from this earliest grouping, which are included in the present volume as the first twelve translations in the section “Poemtrees,” represent Sebald’s earliest publications, appearing in a Freiburg students’ magazine (1964–65). The collection “School Latin” supplied seventeen poems, many of them in revised versions—to the subsequent collection “Across the Land and the Water.” Similarly, the final section of this volume, consisting of the full text of “And If I Remained by the Outermost Sea,” went on to form the second of the three sections of After Nature. Furthermore, the third and final section of After Nature (“Dark Night Sallies Forth”) incorporates at least eighteen shorter poems, half of them in their entirety and all of them cut from the typescript of “Across the Land and the Water.” Whole poems that Sebald pasted verbatim into the final section of After Nature have not been included in the present volume.
In conclusion, Sebald’s decision, in 1984, to publish the final section of “Across the Land and the Water” in Manuskripte, and—possibly in the same year—to allow “Dark Night Sallies Forth” to “cannibalize” the shorter poems of “Across the Land and the Water,” heralded the beginning of an entirely new poetic project and paved the way for the completed typescript of the tripartite narrative poem Nach der Natur to be sent to various publishers in November of 1985. At the same time, however, the concomitant attenuation of the “Über das Land und das Wasser” typescript effectively ended any plans the author may have harbored to publish a collection of poems based on the material assembled since “Poemtrees.” Some readers may agree with W. G. Sebald that prose was the medium to which his hand was best suited. Poems written after the mid-1980s, however, not only make it clear that poetry remained an important medium to Sebald until the end of his life (as volumes such as For Years Now and Unerzählt [Unrecounted] attest) but also suggest that, had events unfolded differently, he might have returned to the project of assembling a volume—one that would surely have included many of the later poems in the present collection.
W. G. Sebald’s poems present the translator with a number of quandaries, at least one of which does not derive from disparities between the English and the German languages, or directly from the poet’s wide-ranging allusiveness. The problem I am referring to arises because the translation—in bodying forth a poem that claims to address exactly the same subject that the poem does in German, and even to represent the author’s language—has no choice but to turn itself into a vehicle of the very difficulties that may have prompted Sebald’s poem in the first place. This is most evident in relation to two of the poet’s perennial and interrelated concerns: reading and memory. Many of Sebald’s poems, for example, address elisions, or repression and suppression of memory, texts, and other forms of discourse. However sincerely motivated, however close to the source, the translation of a poem “perpetrates” just such elision. For in order to offer the best possible guidance to a text in the course of its transformation in the new hermeneutic environment, the translator must change not merely a few items but every single word of the poem. 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. For does not the poem itself—which the translation, by some sleight of hand, actually pretends to be, and whose movement it purports to reenact—construct perspectives from which it will be read, opening certain routes to the understanding of its world and, consequently, eliding others? The translation, inventing the original word by word (for without a translation there is no original), follows the “hard act” of the poem, rebuilding its place in a new terrain. In so doing, it harbors the hope that as many new readings of the poem will be added as those which, inevitably, have been lost. For in the end, the survival and continuing promise of the poem depend on just such access to new and engaging environments of intellectual sophistication and skillful acts of reading.
“Reading” in Sebald’s poetry, however, is a process that not only responds to text. His poems read paintings, towns, buildings, landscapes, dreams, and historical figures. The result is an encyclopedic wealth of literary allusion and cultural reference, much of which may not be named in the text itself. Sebald’s sentences can not only contain pitfalls but thread an uncomfortably narrow ledge along the abyss of what, in one poem, he calls “the history / of torture à travers les âges” (“Bleston”). The difficulties this creates for the translator are self-evident. Words are by nature as precise as they are ambiguous, and the translator must in each case explore the field of reference, resonance, and determination in the source text and language before deciding on one word rather than another. With Sebald’s poems, such explorations can prove long and complex, leading the explorer to a plethora of attendant historical and cultural “dark matter,” in relation to which the poem itself may appear deceptively straightforward and even slight. Sometimes this dark matter—however aware the translator needs to be of its existence—does not, in the end, affect the words of a translation in any pivotal way.
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. The invitation to research possible frames of reference is expressed solely by the place name Türkenfeld: a small town—indeed, hardly more than a village—in the Fürstenfeldbruck area of Upper Bavaria, on the so-called Allgäu line, a route that Sebald would have taken often enough between Sonthofen and Munich. However, it is well for a translator to be aware that landscapes in Sebald’s work are rarely as innocent as they seem. The phrase “behind Türkenfeld” is itself already an indication of “how hard it is”—in the words of what could almost be read as a programmatic poem opening the present collection—“to understand the landscape / as you pass in a train / from here to there / and mutely it / watches you vanish.” In this metaphorical sense, the poem puts the traveler’s gaze itself at the center of its encounter with a cryptic landscape, exploring the difficulty of inciting a historical topography to return that gaze by divulging its secrets. Many of Sebald’s poems enact the battle of the intellect and senses with the hermetic or repellent face of history’s surface layers. The impression is one of traveling across a land in which the catastrophic events of the twentieth century have left a pattern of shallow graves under the almost pathologically hygienic and tidy upper stratum of civilization. What, then, is “behind” Türkenfeld?