W.G. Sebald Plundered Jews’ Stories to Write His Fiction, Then Lied about It https://mosaicmagazine.com/picks/arts-culture/2021/10/w-g-sebald-plundered-jews-stories-to-write-his-fiction-then-lied-about-it/

October 8, 2021 | Judith Shulevitz
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In her recent biography of the late German novelist W.G. Sebald, Carole Angier reveals the extent to which he borrowed—or, perhaps, stole—the life stories of real people, many of them Jewish Holocaust survivors. In one case, he copied in immense detail the life of British Gentile family, but transformed the paterfamilias into a German Jewish refugee. In another, he drew extensively from a survivor’s memoir without attribution. He also lied about the relationship between fact and fiction in his work. Judith Shulevitz, in her review, puts these facts in the context of Sebald’s work:

Displaced Jews haunt some of these narratives; the shades of literary figures—Kafka, Stendhal, Nabokov—materialize in others. And yet Sebald writes like a man typing up case histories, and he accompanies his narratives with something like documentation—photographs of people, facades, notes, newspaper articles, train tickets. These have no captions, and you don’t always see how they relate to the text. But because photographs testify to the onetime existence of things, they give the weight of the real to stories that may or may not be made up. Sebald’s refusal to respect the line between fact and fiction has become commonplace, especially among younger writers. But his adroitly artless synthesis of fable, history, photography, and artifact is still jarring.

Sebald disavowed the term Holocaust writer, and indeed the Holocaust forms just one piece of his vision of modernity as an ongoing disaster and a march toward the total destruction of nature. Yet the Holocaust holds a privileged place in Sebald’s worldview. He told interviewers that it “cast a very long shadow over my life” because he grew up in an Alpine corner of Germany, blissfully unaware of the past (he was born in 1944, just before the end of World War II).

Precisely because of what Sebald sought to convey in his work, Shulevitz cautions against rushing to denounce him for either his borrowings or his lies:

The effect of Sebald’s stories has everything to do with the seamless weave of embroidery and fact. . . . [T]o condemn him for [doing what he did] would be to miss the layers of meaning that complicate moral judgment. Sebald, in writing about Jews, wasn’t writing only about Jews. He was also writing about their absence—both from postwar Germany and, for those Jews who survived the Holocaust, from their own former selves. Nazi Germany forced into exile or murdered half a million German Jews and millions more elsewhere; it stole or burned hundreds of years of European Jewish culture. And it cut survivors off from, well, everything.

Read more on Atlantic: https://www.theatlantic.com/magazine/archive/2021/11/w-g-sebald-speak-silence-carol-angier/620180/