The Emigrants [Paperback]

The four long narratives in?Few writers have traveled as quickly from obscurity to the sort of renown that yields an adjective as quickly as German writer W. G. Sebald (1944 - 2001), and now?In Sebald's writing, everything is connected, everything webbed together by the unseen threads of history, or chance, or fate, or death... beautiful and unsettling, elevated into an art of the uncanny - an art that was, in the end, Sebald's strange and inscrutable?gift.Sublime.Tragic, stunningly beautiful, strange and haunting. The secret of Sebald's appeal is that he saw himself in what now seems almost an old-fashioned way as a voice of conscience, someone who remembers injustice, who speaks for those who can no longer?speak.Most writers, even good ones, write of what can be written. The very greates write of what cannot be written. I think of Akhmatova and Primo Levi, for example, and of W.G. Sebald.A?masterpiece.A writer of almost unclassifiable originality, but whose voice we recognize as indispensable and central to our?time.A writer whose work belongs on the high shelf alongside that of Kafka, Borges, and?Proust.Sebald stands with Primo Levi as the prime speaker of the Holocaust and, with him, the prime contradiction of Adorno's dictum that after it, there can be no?art.Sebald is a rare and elusive species, but still, he is an easy read, just as Kafka is. He is an addiction, and once buttonholed by his books, you have neither the wish nor the will to tear yourself away.W. G. Sebald's [early death is] much lamented by admirers of his too few books, chiefly?If you are completely new to Sebald, you should probably start with his early masterpiece,The first thing to be said about W. G. Sebald's books is that they always had a posthumous quality to them. He wrote - as was often remarked - like a ghost. He was one of the most innovative writers of the late twentieth century, and yet part of this originality derived from the way his prose felt exhumed fromlƒ$