By Sebald, Winfried Georg; Galbraith, Iain
A publishing landmark--the first significant number of poems via one of many past due 20th century's literary masters
German-born W. G. Sebald is better referred to as the leading edge writer of Austerlitz, the prose vintage of global struggle 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 e-book positioned 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 variety from these Sebald wrote as a pupil within the sixties to these accomplished correct ahead of his premature demise 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 that includes eighty-eight poems released in English for the 1st time and thirty-three from unpublished manuscripts, this assortment additionally brings jointly the entire verse he positioned in books and journals in the course of his...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
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.
Soon—on Saturday— a man will set them alight. Smoke will stir no more, no more the trees, now evening closes on the colors of the village. An end is come to the workings of shadow. The response of the landscape expects no answer. The intention is sealed of preserved signs. Come through rain the address has smudged. Suppose the “return” at the end of the letter! ” Nymphenburg Hedges have grown over palace and court. A forgotten era of fountains and chandeliers behind façades, serenades and strings, the colors of the mauves.
Artmann, Royal Engineers. ’s Emigration His personal effects are ready to leave Entered well in advance the calligraphic endorsement an analphabetic cipher valid for a single journey Pictures sent en route greetings from Bohemian Switzerland and a group photo in front of the High Tatras Didn’t you have your photograph taken in Franzensbad too Through Holland in the Dark The cucumbers lurk in their greenhouses The customs official borrows my evening paper A wet hand casts no shadow Kaiser Willem is still smoking his cigars No sign of the reclaimed land Abandoned like Kafka’s essay on Goethe’s abominable nature Mölkerbastei Beethoven’s room is tidy now The pictures straightened the curtains washed and week for week the floors polished anew But the chair for the grand has been taken away He still comes in at night sometimes and composes something standing up The proviso is it be audible only with an ear-trumpet A Galley Lies off Helsingborg Such desolation in Harwich Harbor when I am here it always seems to me as if we were in the throes of a silent war The hollow barges all that bulky worn-out iron the oil-green water and the ever stiller county of Essex round about The poor travelers with their woe-begone faces oppressed hapless folk standing here waiting on the Red Sea shore Nobody tells them where the ferries are heading for tonight Holkham Gap A green zone for field glasses and camouflaged ornithologists Beyond it the bay its sweep broader than the furthest horizon The Home Guard waited here for the sea lion to appear When the monster didn’t show the marram was permitted to reoccupy the fortified strip But Uncle Toby doesn’t entirely trust the peace Stuffing his pillow with sand he wishes the deluge would begin Norfolk Sailing backwards as a passenger with banished time A Louisianian landscape populated by invisible windmillers Where the Egyptian in his painted boat sails between fields Crossing the Water In early November 1980 walking across the Bridge of Peace I almost went out of my mind Natural History In Man it is the Quadruped in Woman the Amphibian who has the upper Hand Ballad Is Carl Löwe’s heart really immured in a column in the Church of St.