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Publication Party for “Thirty Poems”

Thirty Poems by Walser

Kind of a nice bit of news today, if you’re going to be in the New York area next week: New Directions and co-publisher Christine Burgin will host a reception to celebrate Robert Walser’s Thirty Poems. Christopher Middleton and Susan Bernofsky will be on hand to read and discuss.

Details on the event are below. Sadly, I have a prior commitment, but feel free to attend on my behalf.

Publication Party for
Robert Walser’s Thirty Poems

Tuesday, May 15, 2012, 7 p.m. 6 p.m.
Picture Ray Studio
24 West 18th Street
New York City

Addition 5/13/12: The time of the event has changed from 7 p.m. to 6 p.m. which I’ve reflected above. The latest flyer for the event says, “To celebrate the publication of Christopher Middleton’s translation of Robert Walser’s Thirty Poems, New Directions, Christine Burgin, and NYRB Classics are honoring the translator at a reception in New York. For more information, contact publicity@ndbooks.com.”

Robert Frank at Walser Zentrum

Walser Zentrum Robert Frank

An exhibition of photographs by Robert Frank opened at the Robert Walser Zentrum in Bern on March 30. The world-renowned artist, who lives in New York, has designed the exhibition specifically for the Robert Walser Zentrum, as a tribute to Robert Walser, a writer he deeply admires. The exhibition demonstrates Walser’s profound impact on the visual arts. Original prints from all phases of Frank’s work will be on view, many of them shown here for the very first time.

Press release from the Walser Zentrum: [link]
Article in the Tages-Anzeiger [link]

Robert Frank
Ferne Nähe/Distant Closeness
Hommage für/A Tribute to
Robert Walser

March 30, 2012–May 31, 2013
Opening hours: Wednesday to Friday, 1–5 p.m.
Robert Walser Zentrum
Marktgasse 45
CH-3011 Bern
Tel. +41 31 310 17 70
www.robertwalser.ch

Jochen Greven: 1932-2012

Dr. Jochen Greven, author of the first dissertation on Robert Walser, editor of the 20-volume Sämtliche Werke, and first scholar to discover that Walser’s microscripts could be deciphered, passed away last week in Cologne, Germany.

Susan Bernofsky offers a lovely memorial on her blog, Translationista.

If you understand spoken German, you might enjoy viewing an interview with Greven, which Iñaki brought to our attention just last month. The Greven segment begins around minute 28:00.

Addition 4/7/12:

From other publications …

»Nicht Martin — Robert Walser!« Ein Nachruf auf Jochen Greven, Der Umblätterer.
Der Kärrner im Walser-Garten, ALG Online.

Apropos the kissing of a hand

Roman Signer, X Aktion

Apropos the Kissing of a Hand
23 March – 28 April 2012
Holly Antrum / Becky Beasley / Billy Childish / Robert Ellis / Catrin Huber / Sophie Macpherson / Jeremy Millar / Arnaud Moinet / Francesco Pedraglio / Roman Signer / Sylvia Vögel

‘Apropos the Kissing of a Hand’ consists of the work of eleven national and international artists who share a fascination with Robert Walser, one of the major figures of modernist literature. Organised and curated by artist and writer Paul Becker and painter Catrin Huber.

Vane
First Floor, Commercial Union House
39 Pilgrim Street
Newcastle upon Tyne

[via A Certain Realism]

A piece of paper, destined for the trash

Here’s Argentine novelist Juan José Saer on Robert Walser, courtesy of Heather Cleary’s Lost in the Stacks:

    The truth is, finding inspiration in the paper, in the place, in the table at which one writes is fairly common and generally accepted by the public. But what might generate resistance in this utilitarian and consequentialist world of ours is the assertion that a piece of paper destined for the trash bin has a more powerful energy to it than moral, philosophical, and social aesthetic imperatives, an energy absent in those imperatives and endowed with the unusual ability to generate a work of literature. The assertion that even the works most representative of the values of which a given culture is proud would not exist without the irrational dependence on a private stimulus that is totally irrelevant in the eyes of that culture, and which, because of this very irrelevance, presents itself as its negation. The assertion that this obvious particularity of Walser’s, which, given the nearly thirty years he spent locked away in a mental institution, many might be tempted to write off as dementia, is actually the model of all literary creation.

Cleary’s excellent essay on Saer, in the most recent issue of The Quarterly Conversation, quotes Saer on his own preferred kind of literary realism:

    There are many corridors, many points of access, entry, and exit; the branches of this system are always left unfinished, without a definite meaning; all of it builds, shall we say, to a final in-conclusion. The system will, by its very nature, remain unfinished. I believe that this gets closer to our relation with the world than those novels that begin with the hero’s birth and end with his death.

ADDITION 3/11/12: I didn’t see that Cleary had provided the link to the full-text of Saer’s essay on Walser, published on 7 Dec 2002 in El Pais (Spanish only).

Berlin Stories Round-Up

It’s been about a month since Berlin Stories appeared on bookstore shelves, and so I thought you’d appreciate a little round-up of the coverage so far.

First, on publication day, the Twittersphere lit up with lots of tweets from eager readers. Walser’s Wikipedia page was quickly updated to reflect the new volume, and not this time by yours fairly truly.

The good folks at New York Review Books, never idle, soon commenced a series of blog posts marking the event, starting with a letter from our trusty translator, and proceeding with full-text posts of four stories from the collection:

“Good Morning, Giantess!”
“Berlin and the Artist”
“The Electric Tram”
“Aschinger”

(Don’t forget that a fifth story — “Full”– appeared in full in Asymptote before the book appeared.)

Bernofsky wasn’t idle either. She plugged the book in interviews on Bookforum.com and PEN.org. She also had reading-slash-book-launch at 192 Books in Manhattan, which was nicely documented by Vince Manapat on Metro.us.

On the review front, Simon Willis of The Economist’s More Intelligent Life was first out of the gate, describing the stories as “alloys of fiction, journalism and penetrating reflection.” The Gray Lady chimed in with a lovely capsule by Jan Stuart, and included the book as an Editor’s Choice on February 2. More recently, the Guardian’s Nicholas Lezard gave it a longer look, not loving it less: he called it an “unbelievably delightful and timeless collection.”

Meanwhile, on the interweb’s vast expanse, Emma Garman’s essay at Words Without Borders reminded me of how much better the typical essay on Walser is today, compared with, say, twenty years ago. Josh Zajdman’s piece at Bookslut was lovely as well.

The readers at Goodreads NYB Classics book club made the book their February pick, and other Goodreaders contributed early reviews.

Other web sightings made me smile, such as this one, in a review of Wim Wenders’ Pina on Parisreview.org.

All in all, a nice start. How different from just a few years ago! Last spring, when I visited the archive in Bern, I told Reto Sorg that I used to save clippings or printouts of every article on Walser that I found — but for some reason, I told him, I had stopped.

He nodded. “Too many,” he said.

Exactly right.

Coming up in 2012

The new year is shaping up quite nicely for all us English-speaking Walserites, particularly those in my own hometown of Chicago. Here’s a hint of what’s to come:

In the Spirit of WalserDecember 3 (through April 2012): In the Spirit of Robert Walser, Donald Young Gallery, Chicago. “The Donald Young Gallery is pleased to present a series of exhibitions inspired by the Swiss writer Robert Walser. On December 3rd, the gallery will open the first part of the exhibition with the archival material being shown together with 3 clay sculptures by Peter Fischli and David Weiss. This will be followed by Moyra Davey in January, Thomas Schütte in February, Rosemarie Trockel in March and Tacita Dean and Mark Wallinger in April.”

Berlin StoriesJanuary 24: Berlin Stories, translated by Susan Bernofsky, New York Review Books Classics. Berlin Stories collects [Walser's] alternately celebratory, droll, and satirical observations on every aspect of the bustling German capital, from its theaters, cabarets, painters’ galleries, and literary salons, to the metropolitan street, markets, the Tiergarten, rapid-service restaurants, and the electric tram. Originally appearing in literary magazines as well as the feuilleton sections of newspapers, the early stories are characterized by a joyous urgency and the generosity of an unconventional guide.”

Oppressive LightFebruary 14 (now May 15): Oppressive Light, Selected Poems by Robert Walser, translated by Daniele Pantano, Black Lawrence Press.Oppressive Light: Selected Poems by Robert Walser represents the first collection of Robert Walser’s poetry in English translation and an opportunity to experience Walser as he saw himself at the beginning and at the end of his literary career––as a poet. The collection also includes notes on dates of composition, draft versions the printed poems represent, which volume of the Werkausgabe the poems were first published in, and brief biographical information on characters and locations that appear in the poems and may not be known to readers.”

February 26: Robert Walser Symposium, Goethe-Institut Chicago. Coinciding with the “In the Spirit of Walser” exhibition, Goethe-Institut Chicago is holding a symposium on the author at 3 p.m. on Sunday, February 26, featuring Thomas Schuette, Susan Bernofsky, Joerg Kreienbrock, and Michal Pawel Markowski, and (possibly) other guests. The final program will be announced in the coming weeks.

institute robert walserMarch 24: Robert Walser Festival, Institute Robert Walser, Newcastle, UK. Formed in 2011, the Institute Robert Walser holds public meetings for artists, writers, performers, musicians and others inspired by Walser’s writing. Scheduled to appear at the March festival are scholars Daniel Medin and Jo Catling, translator Daniele Pantano, artist Billy Childish, representatives from the Walser Zentrum in Berne, and many others.

30 Poems by WalserApril 24: Thirty Poems, translated by Christopher Middleton, New Directions. “A deluxe edition of the Swiss master’s best poems. In a small, exquisite clothbound format resembling the early Swiss and German editions of Walser’s work, Thirty Poems collects famed translator Christopher Middleton’s favorite poems from the more than five hundred Walser wrote. The illustrations range from an early poem in perfect copperplate handwriting, to one from a 1927 Czech-German newspaper, to a microscript.”

The WalkJune 5: “The Walk,” translated by Susan Bernofsky, New Directions Paperback. “The Walk was the first piece of Walser’s work to appear in English, and the only one translated before his death. However, Walser heavily revised his most famous novella, altering nearly every sentence, rendering the baroque tone of his tale into something more spare. An introduction by translator Susan Bernofsky explains the history of The Walk, and the differences between its two versions.”

The Spirit of Walser

Unless you click on the accompanying image, you may not understand why I gasped aloud as I lazily browsed the web in Chicago this weekend. Thanks to our friends at the archive, I knew this was coming. I just didn’t know it was coming so soon!

More details as they become available …

Stray Ghost: Music for Robert Walser

A musical Microscript

Ligeti Poster
Read the small print on the poster above, and you’ll learn of the world premiere of a musical composition inspired by Walser’s microscripts.

Says the composer, Drew Baker:

    The piece I wrote for Dal Niente is not intended to provide any sort of literal connectivity to Walser’s stories or his idiosyncratic script. I am not attempting to musically depict one of his plot lines, set his text or develop some sort of musical shorthand in order to fit an entire piece onto a scrap or two of paper.

    Rather, I want to create a similar sense of focus and intensity. I want the listener to gain a heightened awareness of the sonic detailing and I seek to do this in part by limiting certain parameters in order to emphasize others. Microscript begins with nearly two minutes of a single pitch. This seemingly static handling of pitch serves to elevate one’s sense of articulation, which in this case — with constant changes in string assignments, bow contact points, articulations, etc. — is quite diverse. It is my hope that the physicality of the sound is as apparent as that of Walser’s writing and I furthermore wish to grant the listener the freedom to linger over and carefully examine various gestures and textures.

Nice! The performance is the season finale for the Ensemble Dal Niente, a Chicago-based group that focuses on contemporary music.

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