The Return of the Repressed Mother in W. G. Sebald's Novels

Xavier University Exhibit Faculty Scholarship English 2013 The Return of the Repressed Mother in W. G. Sebald’s Novels Graley Herren Xavier University Follow this and additional works at: http://www.exhibit.xavier.edu/english_faculty Part of the English Language and Literature Commons Recommended Citation Herren, Graley, "The Return of the Repressed Mother in W. G. Sebald’s Novels" (2013). Faculty Scholarship. Paper 5. http://www.exhibit.xavier.edu/english_faculty/5 This Book Chapter/Essay is brought to you for free and open access by the English at Exhibit. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Exhibit. For more information, please contact [email protected]. A literature of restitution Critical essays on W. G. Sebald Edited by Jeannette Baxter, Valerie Henitiuk and Ben Hutchinsou Manchester University Press Manchester and New York distributed in the United States exclusively by Palgrave Macmillan 12 THE RETURN OF THE REPRESSED MOTHER IN W. G. SEBALD'S FICTION Graky Herren Anxieties about the Holocaust often assume the form of anxieties about lost mothers in Sebald's fiction. His narrator1 is relentlessly drawn to victims who were separated from their mothers during the war, mothers who then disappeared with scarcely a trace into the camps. In Sebald's treatment of the Holocaust, Nazi 'crimes against humanity' are often translated as 'crimes against the family'. Mark M. Anderson identifies the central importance of the family drama _in Sebald's work: In a very literal sense, his stories are 'familiar' - not just because of their casual pres entation of his subjects' quotidian activities but because they explicitly focus on family relations. And although the narrator keeps him.self quietly out of the spotlight, his own family narrative is subtly intertwined with that of his protagonists. Family phOto graph albums, memoirs, and diaries play a fundamental role in the telling of these stories, both formally and affectively. (2008: 141) Sebald's literature of reparation is rooted in large part to a troubled paternal legacy as the son of a soldier in the Wehrmacht. However, with a few notable exceptions, the maternal dimension of these 'crimes against the family', particularly the severing of the mother-child bond, have not been fully appreciated.2 Sebald addresses this subject most explicitly in the Luisa Lanzberg section of The Emigrants and in the search for Agata Austerlitzova in Austerlitz. However, I am more inter ested in less direct manifestations of this crisis of maternity, visual and textual instances where the mother's identity is obscured or suppressed. In this chapter I will concentrate primarily upon two such instances from Vertigo and The Emigrants. Here Sebald's indictments extend well beyond the Nazi perpetrators of 'crimes against the family', and these indictments hit uncomfortably close to home. My preference for the generic label 'fiction' to categorize Sebald' s work is important to establish at the outset. The near-identity of the narrator with his author makes it tempting to equate the two and thus to think about Sebald's works ~~egoiically as memoir, travel narrative or essay. Indeed, Sebald at times 231 'Prose' and photography The return of tht: repressed mother encouraged such a reading, affirming for instance in his interview with Carole of gender and sexuality. Again, it is worth emphasizing the crucial distinctions Angier: 'What matters is all true. The big events [... ]. The invention comes in at the between Sebald and his narrator. In his provocative book On Creaturely Life, Eric L. level of nrinor detail most of the time, to provide l'etfet du red' (Angier 2007: 72). It Santner argues that the notion of 'creaturely life' - 'the peculiar proximity of the is interesting to :note, however, that, far from being reassured by the author's affir human to the animal at the very point of their radical difference' (2006: 12) - is an mation, Angier was clearly disconcerted by his manipulation of source material. As abiding concern in Sebald's work, and that sexuality is a key index for gauging this Sebald 'confessed' to one creative intervention after another in The Emigrants, complex creaturely exchange. Yet when it comes to the depiction of mothers by Angier could barely conceal her unease: 'This is the answer to my question, then: Sebald's narrator, the fictional proxy reverts nostalgically to naive (and distinctly The Emigrants is fiction. And the photographs and documents are part of the fiction. Catholic) maternal ideals at odds with the author.'s more complex and nuanced It's a sophisticated undertaking, and perhaps a dangerous one, given its subject' project outlined at length by Santner. (2007: 73). I share Angier's conclusion that Sebald's works are best understood as The narrator assumes a default position of the Mother as the family's virtuous works of fiction, though I find little cause for distress in this fact. One of the more source of affection, nurture, mercy and domestic tranquillity. He frequently fascinating dynamics at play in the fiction is the distortion of autobiography - invokes his ideal image of motherhood through reference to fine art. Anne Fuchs Sebald's wilful manipulation of raw material from his own experiences to produce characterizes Sebald's approach to fine art as providing 'a therapeutic haven of a narrator·whose perspective on those experiences is instructively incongruent with contemplation [... ] that enshrines moments of transcendence' (2006: 168). With that of his author. To put it in terms of an instructive analogy, the narrator is to striking frequency, the objects of contemplation and transcendence in these works Sebald .as Stephen Dedalus is to James Joyce. Critics customiarily focus so much of art are mother-figures enacting the traditional maternal virtues. His ideal upon the narrator's explicit and implicit critiques of German history, ideology and mother tries steadfastly to protect her child, like the mother in the Paulino painting behaviour that- they often fail to recognize that the narrator himself is frequently he admires in Corsica (Sebald 2005c: 5). When the inevitable trouble comes, she held up for critique as well. Far from being immune from the faults that he clings to her child like the Mary of Griinewald's Isenheim altarpiece (Sebald 1996: diagnoses in the collective German psyche, the narrator is at times a walking case 160), and if he must flee she watches over him in exile like the Mary of Rembrandt's study of the very pathologies he decries. Nowhere is the narrator's proclivity for The Flight into Egypt (Sebald 200lf: 120). Finally, if the worst comes - torture, denial, distOrtibn and repression more evident than in matters maternal. decrepitude, death, or even self-defilement - she is there to hear her children's lamentations and to heal their suffering, like Tiepolo's St Theda (Sebald 1999d: 51). Sebald's narrator laments the corruption of sacred maternal virtues as a deplorable It should be noted that these religious images fit comfortably within the political casualty of the Second World War. I use the term 'sacred maternal virrues' context of the rise of German Fascism, which likewise promoted an elevated ideal advisedly. knowing from the outset that, rather than lending credence to such of motherhood. The easy affinity between Catholic belief and Nazi ideology on moral platirudes, Sebald invests his narrator with these values only to disappoint this score helps to explain Sebald's characterization of his family background in the them. -Sebald was raised in a Catholic family. His quasi-autobiographical narrator Angier interview: 'I come from a very conventional, Catholic, anti-Communist periodically invokes the same childhood background, though as au adult he has background. The kind of semi-working-class, petit bourgeois background typical ostensibly become a_ religious sceptic, particularly when it comes to Christianity's of those who supported the fascist regime, who went into the war not just blindly, complicity in violence. Nevertheless, the narrator still clings to strikingly tradi but with a degree of enthusiasm. They all fell up the ladder in no time at all, and tional attitudes toward women, evidence of residual Catholic values at least in the until 1941 they all felt they were going to be lords of the world. Absolutely; there's arena of gender relations. Though he is apparently married to a woman named no doubt about it, though nobody ever says it now' (Angier 2007: 66).6 Clara (Sebald's own wife was named Ute), he is persistently revolted at the sight of As with all deeply held myths, the believer seems to find confirmation of his sex, 3 and he shudders-anytime a woman so much as touches him with less than beliefs everywhere, in things both great and small. A less iconic, but no less virtuous intent.4 Carnal knowledge - at least of the heterosexual variety-is consis revealing, instance of idealized maternal values can be found at the beginning of tently portrayed as dirty and disgusting. This is routinely offered as evidence of the the final chapter in The Emigrants, when the narrator recalls his first arrival in narrator's closeted homosexuality/ but we might just as well chalk it up to a severe Manchester. From the air he sees a city blanketed in fog as if it is suffocated in ash, symptom of closeted Catholicism. In general, the narrator either idolizes women and as the taxi drives him through the dilapidated and largely evacuated heart of as divine Mothers (Madonna) or reviles them as carnal predators (Whore), with the city, he feels as if he has wandered into a 'Totenhaus' ('necropolis' (Sebald little acknowledgment of depth or nuance between these two extremes in matters 1994a:: 220-1; 1996: 1.50-1)).

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