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WG Sebald and Writing of His Generation

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WG Sebald and Writing of His Generation “Connected but not Congruent” W.G. Sebald and Writing of his Generation Gillian Selikowitz A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Faculty of Arts and Social Sciences, University of Sydney, 2016. 1 Abstract W.G. Sebald is widely perceived as a literary phenomenon, and critics assert the uniqueness of his prose fiction, and its position in the context of post-war German literature. In this study, I challenge the widely-held view that the narrative prose of W.G. Sebald is aloof from that of his generation, and demonstrate that his writing reveals not only significant thematic connections with that of his generation, but an intensification of the resentment and ambivalence that mark the earlier writing of his generation. My study is a comprehensive comparative reading of Sebald’s narrative prose and the writing of the German “second” generation, and builds on a small body of work by Morgan, Taberner, Davies and others. Exploration of Sebald’s prose fiction within a generational paradigm reveals significant connections between his writing and the literary, social, and political preoccupations that define the earlier, ambivalent writing of his generation. My study challenges the widespread perception of Sebald’s uniqueness, as well as the tendency to mystification that exists in critical appreciation of Sebald’s writing. Situating Sebald in a generational context has significant implications for our reading of his work: it allows us to identify his narrative prose as a belated, intensified, and elaborately figurative confrontation with the inheritance that troubled his second-generation cohort. My readings show that Sebald’s narrative prose continues to reflect the ambivalence towards national identity and recent traumatic history that marks the conflicted writing of his generation, born during or shortly after the war, and expressed in the anti-authoritarian writing of the 1960s, the intergenerational conflicts of the Väterliteratur, and the neo-Romantic writing of the 1980s. Placing Sebald in a generational context exposes the incongruity of his position in relation to the trajectory followed by many writers of his generation: while their concerns change over time to reveal a more empathetic approach to the National Socialist past and the imbrication of the parent generation in it, Sebald continues to express the discourse of loss and resentment that characterizes the earlier writing of this generation. 2 Acknowledgements I would like to thank my supervisor, Professor Peter Morgan for his invaluable guidance and support throughout the production of this thesis. I thank my parents, the late Jack and Naomi Fletcher, for providing an example of life- long learning. Above all, I thank my husband, Mark Selikowitz, for love, encouragement and support. This study is dedicated to Mark. 3 “The work of Sebald and other writers and intellectuals continues to remind us that the dates of history and the dates of consciousness are connected but not congruent.” Morgan 2005, “The Sign of Saturn: Melancholy, Homelessness and Apocalypse in W.G. Sebald’s Prose Narratives” 4 Table of Contents CHAPTER 1: Introduction and literature review 8 Introduction 8 Thesis outline 23 Literature review: Sebald and his generation 24 CHAPTER 2: Sebald in Generational Context 42 Introduction 42 Generation: etymology, definition, and theories 46 The “second generation” 54 In summation 67 CHAPTER 3: Sebald’s Narrative Prose and Protest Literature 68 Introduction 68 The protest movement of 1968 72 Sebald’s prose fiction and the protest writing of his generation: Brinkmann, Fichte, Bernhard, and Achternbusch 80 Repudiation of Germany and Germans 82 Rejection of genealogy 89 Critique of institutions of authority 99 The influence of Adorno and the Frankfurt School 108 In summation 118 5 CHAPTER 4: Sebald and Väterliteratur 120 Introduction 120 The tropes of Väterliteratur 129 In search of fathers 129 Rupture and continuity: the ambivalence of the second generation 134 The desire for alternative affiliation 136 The victimhood of the second generation 139 Die Ausgewanderten and the tropes of Väterliteratur 146 “Henry Selwyn” 146 “Paul Bereyter” 150 “Ambros Adelwarth” 158 “Ambros Adelwarth” and Vesper’s Die Reise 162 “Max Aurach” 166 In summation 175 CHAPTER 5: Sebald’s Narrative Prose and the Neo-Romantic Writing of his Generation 178 Introduction 178 Romanticism and neo-Romanticism: problems of definition 180 Neo-Romanticism and the failure of 1968 182 The Romantic Kunstmärchen: structure and tropes 185 6 Das Märchenhafte and the creation of alternative realities in the writing of Roth, Handke, and Sebald 188 Sebald’s neo-Romanticism: Die Ringe des Saturn and Austerlitz 194 The Romantic artist 203 The Romantic artist in the writing of Strauβ, Handke and Sebald 209 The suffering artist 209 Sebald’s wanderer-artist and the trope of return 228 In summation 231 Conclusion 233 Bibliography 243 7 CHAPTER 1 Introduction and Literature Review Introduction Fourteen years after Sebald’s death, the “virtual explosion of secondary literature” on his work continues,1 with critics asserting the uniqueness of Sebald’s narrative prose and style, and its position in the context of post-war German literature. In this wide- ranging comparative study, I challenge the pervasive view that the narrative prose of W.G. Sebald is aloof from that of his generation, and in doing so, address a significant deficit in Sebald research. It is the burden of my study to demonstrate that Sebald’s narrative prose reveals undisclosed and underestimated affinities with the earlier writing of his generation, confirming Morgan’s observation that Sebald’s texts are a belated manifestation of the inheritance that troubled his cohort. My readings suggest that Sebald’s narrative prose continues to reflect the ambivalence towards national identity and recent traumatic history that marks the conflicted writing of his generation, born during or shortly after the war, and expressed in the anti-authoritarian writing of the 1960s protest movement, the intergenerational conflicts of the Väterliteratur, and the neo-Romantic writing of the 1980s. Examination of his prose texts in relation to those of his generation indicate that Sebald’s belated response reveals not only thematic connections with these genres, but in many respects, an intensification of the ambivalence and resentment that mark the earlier writing of his generation. My study contributes to a broader understanding of Sebald’s work by restoring him, as a second-generation writer, to his German context, and a shared generational experience of war, damaged childhood, and generational conflict. I build on a small 1 Lynn Wolff, “‘Das metaphysische Unterfutter der Realität’: Recent Publications and Trends in W.G. Sebald Research,” Monatshefte 99:1 (2007): 78-101 (79). 8 body of work by Morgan, Taberner, Davies and others who examine Sebald’s prose writing from a generational perspective, and contribute to their work by comparing and interrogating Sebald’s narrative prose in relation to a comprehensive range of second-generation genres and texts. I seek to demonstrate that, despite his efforts to distance himself from his generation, Sebald shares thematic concerns with radically anti-authoritarian writers like Achternbusch and Brinkmann; while Sebald’s muted and allusive narrative prose would appear to have little in common with the obscenity of Fichte or the confrontational tenor of Meckel and Schwaiger, his stylistic subtlety disguises a conflicted approach to genealogy and identity that aligns his narrative prose with protest writing and Väterliteratur. Sebald’s narrative texts reflect a nostalgia for the lost past, a longing for transcendence, and a reconfiguration of the Romantic Kunstmärchen and suffering artist evident in the neo-Romantic writing of contemporaries such as Strauβ and Handke. Examining Sebald’s prose in a generational context exposes also significant differences between his writing and that of his generation: belated by several decades, he proves more categorical in his repudiation of certain authoritarian structures than they were; the trope of affiliation with Jewish identity, tokenistic in Väterliteratur, becomes in Sebald’s writing an elaborate and ethically problematical means of achieving a more desirable alternative identity. Sebald’s neo-Romanticism does not offer the redemptive promise it holds in the writing of his second-generation cohort; while Sebald reconfigures the Romantic Kunstmärchen as a structural device, the Gegenwelt he constructs lacks the utopian dimension it presents in the writing of Handke and Strauβ. Such differences do not, however, obscure the significant connections between Sebald’s prose fiction and the earlier writing of his generation. Sebald’s writing is imbued with second-generation concerns: in his narrative prose, the legacy of National Socialism is a continuing burden, and Vergangenheitsbewältigung remains an ongoing process. As Morgan observes: [Sebald’s] texts are not statements of self-understanding in the declining stage of life, but gestures of inability to resolve the problems of individual identity and history which Sebald’s generation inherited. His accents may 9 be less strident than those of his contemporaries, but they carry the same message.2 Situating Sebald in a generational context has significant implications for our reading of his work: it allows us to identify his narrative prose as a belated confrontation with second-generation
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