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Unrecounted (New Directions Paperbook), by W. G. Sebald
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A gorgeous illustrated poetry collection by W. G. Sebald: "An extraordinarily handsome edition of poems by the late great writer" (Confrontation).
Unrecounted combines thirty-three of what W. G. Sebald called his "micropoems"―miniatures as unclassifiable as all of his works―with thirty-three exquisitely exact lithographs by one of his oldest friends, the acclaimed artist Jan Peter Tripp.The lithographs portray, with stunning precision, pairs of eyes―the eyes of Beckett, Borges, Proust Jasper Johns, Francis Bacon, Tripp, Sebald, Sebald's dog Maurice. Brief as haiku, the poems are epiphanic and anti-narrative. What the author calls "time lost, the pain of remembering, and the figure of death" here find a small home. The art and poems do not explain one another, but rather engage in a kind of dialogue. "The longer I look at the pictures of Jan Peter Tripp," Sebald comments in his essay, "the better I understand that behind the illusions of the surface, a dread-inspiring depth is concealed. It is the metaphysical lining of reality, so to speak." 33 black-and-white illustrations
- Sales Rank: #1790524 in Books
- Brand: Brand: New Directions
- Published on: 2004-11-17
- Original language: English
- Number of items: 1
- Dimensions: 10.30" h x .70" w x 6.50" l, 1.21 pounds
- Binding: Hardcover
- 112 pages
- Used Book in Good Condition
Review
"Now this poem of gazes has become a memorial, a bequeathal...this legacy of his has the density of epitaphs."
Think of Sebald as memory's Einstein.--Richard Eder
The images...set up a mysterious dialogue with the text, rather like the photos Sebald inserted into his novels. --Adam Kirsch"
The magic of W. G. Sebald's incandescent body of work continues to unfold, with this unexpected collaboration. --Susan Sontag"
The drawings along with Sebald's text play with serious themes in a European tradition that has all but vanished. --George Porcari"
Now this poem of gazes has become a memorial, a bequeathal...this legacy of his has the density of epitaphs. --Andrea Kohler"
A totally original book of poems...haunting, profound, nonsensical, surreal at moments even painful. "
Think of Sebald as memory's Einstein. --Richard Eder"
About the Author
W. G. Sebald was born in Germany in 1944 and died in 2001. He is the author of The Emigrants, The Rings of Saturn, Vertigo, Austerlitz, After Nature, On the Natural History of Destruction, Unrecounted and Campo Santo.
Jan Peter Tripp was born in 1945 and lives and works in Alsace.
Michael Hamburger (1924-2007) wrote many collections of poetry and criticism. Other notable translations include Baudelaire's Twenty Prose Poems. He received the European Translation Prize for Poems of Paul Celan.
Most helpful customer reviews
4 of 4 people found the following review helpful.
"The metaphysical lining of reality"
By R. M. Peterson
The core of UNRECOUNTED is a collaboration between W.G. Sebald and his good friend Jan Peter Tripp. Near the end of his writing career, Sebald began producing short "micropoems". They might be thought of as a variant of Japanese haiku, a genre that Sebald was reading at the time he was producing his first micropoems. Shortly before his death in December 2001, Sebald sent Tripp a collection of micropoems, leaving it to Tripp to select which ones to include in a book, for which Tripp would produce a lithograph to accompany each Sebald micropoem. Sebald and Tripp had been discussing the collaborative project for some time, and "their declared aim was that text and image should not explain, let alone illustrate, each other but enter into a dialogue that would leave each his own space for reverberations" (to quote an essay by Andrea Köhler that concludes this volume).
Tripp is a distinctive artist, whose works are intensely representational and realistic, so much so that they take on an air of mystery and otherworldliness. For UNRECOUNTED, Tripp selected thirty-three of Sebald's micropoems, and he chose to accompany each of them with lithographs of pairs of eyes, closely cropped to reveal only the eyes, brows, and eyebrows as well as the bridge of the nose and part of the nose itself but (almost) never the end of the nose. One lithograph is of the eyes of Sebald's dog, Maurice. As for the subjects of the other thirty-two lithographs, most (and perhaps all) are people from the world of literature or the visual arts -- such as Javier Marías, Francis Bacon, Jorge Luis Borges, Rembrandt, Jasper Johns, Marcel Proust, and Samuel Beckett, as well as Tripp, Sebald, and Michael Hamburger, the translator of UNRECOUNTED.
The lithographs are fascinating, almost intoxicating. To me, they are, by far, the better part of the collaboration. The book includes an essay by Sebald on the work of Jan Peter Tripp, in which he writes that behind the representational reality of Tripp's art is "a dread-inspiring depth, * * * the metaphysical lining of reality, so to speak". After one spends some time with Tripp's work, that description of it doesn't seem like sheer nonsense. I will make a point of seeking out more work by Jan Peter Tripp.
I am, however, indifferent about Sebald's micropoems, even after having read them twice. They probably have personal significance for Sebald, but they convey very little to me. As an example, here is the one that accompanies Tripp's lithograph of the eyes of Marcel Proust:
But the time
in which darkness
prevails
that time one
does not see
Here is another, which is paired with the lithograph of the eyes of Kurt Weidemann:
At eleven o'clock
the swastika men
assembled on
the Theresienwiese
& under the command
of an officer
began to exercise
The pages are oriented horizontally. By that I mean that when you open the book (which measures about 6 inches wide and 10 inches high), you then have to rotate it ninety degrees clockwise to read each set of pages. For each pair of lithographs and micropoems, the lithograph is on the top of the two-page spread (after rotating the book) and then below the page-fold and binding there is the micropoem. The title (which does double-duty as the first line as well) and all the lines of each micropoem are centered in the middle of the page (i.e., there is no left-hand justification). The entire arrangement or formatting of the book strikes me as somewhat gimmicky.
My four-star Amazon assessment is the average between five stars for Tripp's lithographs and three stars for Sebald's micropoems.
20 of 20 people found the following review helpful.
WG Sebald in the Guise of a Poet
By Grady Harp
UNRECOUNTED is a collaborative work by the deceased and sorely missed WG Sebald and his life long artist friend Jan Peter Tripp. Together they blocked 33 poems and 33 lithographs on apposing pages that were meant to create a sense of communication. In Sebald's words "The longer I look at the pictures of Jan Peter Tripp, the better I understand that behind the illusions of the surface, a dread-inspiring depth is concealed. It is the metaphysical lining of reality, so to speak."
As a devoted reader of all of Sebald's output I was eagerly looking forward to yet another posthumous document from this astonishingly fine writer. What is in this handsome volume is not really 'poetry' but rather brief haiku-like musings. Not that they aren't lovely, it is just that they are not up to the challenging standards of his novels. Still one is left with a satisfied feeling having read this (sideways printed) book of thoughts. The art of Tripp is stunning - eyes of famous writers and thinkers. In the end, in Sebald's own critical self examination, these works are "time lost, the pain of remembering, and the figure of death". As such, they gain more meaning. Grady Harp, September 05
25 of 30 people found the following review helpful.
Like an unknown trunk with a stranger's garments in it
By Kevin Killian
My first thought was that Sebald (1944-2001) might have been a great novelist but he wasn't too good as a poet. And my second thought was that the good people at New Directions are really milking his posthumous fame to try to sell this puzzling "keepsake," as they call it, for $22.95, when it is so manifestly inferior to his other books. But luckily I kept the book on top of my desk for awhile and presently found myself returning to it again and again, trying to puzzle out what made it different than other books of poetry I had read. These "micropoems," as the translator calls them, do creep under your skin.
Here's one:
The house
in the night
through the windows
the flickering light of
flames
That's it! As New Directions lays them out, these lines are all centered a la Michael McClure (it's hard to tell if Sebald planned this effect.) By the way the translator (Michael Hamburger) must be British and I wonder what a good US translator could have done with the German of these poems which the editor has supplied as an appendix for our eluctation at the back of the book. They are so short you could copy them all out on your lunch hour, but they gain weight and resonance by their placement next to the lithographs that inspired them-33 portraits by Sebald's best friend Jan-Peter Tripp) of people's eyes. (A lot of the poetry is about questions of seeing, perception, realization, etc) I thought I recognized some of the faces and I was right in one case only. The eyes are mostly those of famous artists (Francis Bacon, rembrandt, Jasper Johns, Barnett Newman) and writers (Capote, Borges, Burroughs) and some of the juxtapositions attain a transparency as luminous as ice water. But you don't find out whose eyes they are until the end, so the volume has the aspect of a parlor game to it. By the way, check out page 74. It says those are the eyes of Proust, but they look like Rex Harrison to me!
So you're reading these haiku and puzzling over whose eyes are whose and before you know it, you are swept away into the land of the Unerzahlt for the ride of a lifetime.
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