Archive for November, 2009

Tanner Topics

A few Tanner-topics I’d like to write about when time allows:

Time: As in The Assistant, Walser is fairly scrupulous about chronological time in The Tanners. It would be fun to look at this in more detail, and also to compare events in the novel with events in Walser’s life or Zurich history to see how well they match up. (I already did a bit of that here.)

Style: If you’re familiar with Walser, one thing about the style of The Tanners probably strikes you immediately: No metalepsis. In other words, the frame-breaking asides that are so characteristic of Walser narrators are completely absent in this novel. Why is that?

Assessment: As I recall, in his walks with Carl Seelig, Walser mentions The Tanners a number of times and makes some observations about what he (and others) thought about the book. Might be fun to look at those comments again.

Quotation: Now that I’ve been through the book a number of times, it would also be fun to pick out some of my favorite passages.

The Microscripts

Here are a few bits and pieces on the facsimile edition of Robert Walser microscripts coming out in May 2010:

From the website of the Christine Burgin Gallery, which is publishing the book in partnership with New Directions Publishing:

Projects & Publications: Robert Walser
In Spring 2010 the Christine Burgin Gallery and New Directions will publish a facsimile edition of Robert Walser’s microscripts with new translations by Susan Bernofsky. This will be the first publication in English illustrated by and devoted to Robert Walser’s microscripts. more

From Cantos: A New Directions Blog, in a post highlighting spring releases from ND:

The Microscripts by Robert Walser
Robert Walser wrote many of his manuscripts in a highly enigmatic, shrunken-down form. These narrow strips of paper (many of them written during his hospitalization in the Waldau sanatorium) covered with tiny ant-like markings only a millimeter or two high, came to light only after the author’s death in 1956. At first considered a secret code, the microscripts were eventually discovered to be a radically miniaturized form of a German script: a whole story could fit on the back of a business card. Selected from the six-volume German transcriptions from the original microscripts, these 25 short pieces are gathered in this gorgeously illustrated co-publication with the Christine Burgin Gallery. each microscript is reproduced in full color in its original form: the detached cover of a trashy crime novel, a disappointing letter, a receipt of payment. more

From the pre-order page at Amazon.com:

The Microscripts (Hardcover)
Selected from the six-volume German transcriptions from the original microscripts, these 25 short pieces are gathered in this gorgeously illustrated co-publication with the Christine Burgin Gallery. Each microscript is reproduced in full color in its original form: the detached cover of a trashy crime novel, a disappointing letter, a receipt of payment. Sometimes Walser used the pages of small tear-off calendars (but only after cutting them lengthwise and filling up each half with text). Schnapps, rotten husbands, small town life, the radio, pigs (and how none of us can deny being one), jealousy, Van Gogh and marriage proposals are some of Walser’s subjects. These texts take strength from Walser’s motto: “To be small and to stay small.” 65 full-color illustrations. more

You can see some nice images if you click the “more” links above for the Burgin Gallery and the ND blog.

Rediscovering a forgotten genius

Stumbled on this in Facebook today. Looks cool.

LIT&LUNCH: Rediscovering a Forgotten Genius
Susan Bernofsky on Robert Walser

Bring your lunch and join us for LIT&LUNCH! Although Kafka revered him and he is widely celebrated in Europe, Robert Walser only recently began attracting readers in the United States. After being featured in publications like The New Yorker over the past few years, this literary master has developed a devoted following among American readers. Translator Susan Bernofsky talks about rediscovering a forgotten genius, as well as the ins and outs of translating Walser’s singular prose.

Host: The Center for the Art of Translation
Date: Tuesday, February 9, 2010
Time: 12:30pm – 1:30pm
Location: 111 Minna St. (Minna @ 2nd), San Francisco, CA

So this life of man appears

If you’ve read The Tanners, you’ll recall that the novel ends on a winter night, in an inn on a hill overlooking the city:

Around Christmastime [Simon] went walking up the slope of the mountain. It was getting on toward evening and terribly cold. A biting wind whistled about people’s noses and ears, which grew red and inflamed from the cold. Simon automatically chose the path that once had led to Klara’s woodland home and now had been cleared and widened. Every where the trace of transforming human hands was visible. He saw a large but nonetheless charming building on the very spot where the wooden chalet used to stand where he had gone so often when Kaspar was still painting there, with the dear peculiar woman living in it. Now a health resort had been established there, and it appeared to be quite popular, for any number of well-dressed people were going in and out. Simon spent a moment considering whether he too should go inside, but the bitter cold alone was enough to make the thought of a warm room filled with people agreeable, and so he went in.

Simon has no money and is afraid he will be sent back into the cold, but the proprietress notices his tattered clothes and takes pity on him, and orders her staff to bring him food. At the end of the evening she sits and speaks with him, and he tells her the story of himself and his siblings, which rehearses, in part, the story told by the novel itself.

It’s a beautiful ending, though somewhat odd and unexpected. But the oddness of the ending wasn’t what made me pause the other night when I reread it. What made me pause was the realization that I had actually stayed in that inn when I visited Zurich in 1997.

Here’s a picture I took. This place is that place.

Zurichberg Hotel

The modern-looking addition on the left is of course new, but the building on the right is the original inn constructed in 1900 by the Zurich Women’s Club, as noted on the website of the Sorell hotel group, which operates the inn today as the Hotel Zürichberg:

In 1898, innovative Zurich townswomen, who had previously made a name managing alcohol-free inns, ambitiously resolved to set up a spa center on the Zürichberg mountain just outside the city. It was to be a place where the population of Zurich could come to relax on the weekends and during holidays. After an intensive construction phase, the spa center was completed in 1900 and the Hotel Zürichberg was opened. The construction costs amounted to around half a million Swiss francs – a huge sum at that time. Nevertheless, guests were charged only three Swiss francs per overnight stay, including full board.

Is the “proprietress” in the book Susanna Orelli, who founded the inn and is remembered today as a temperance leader and humanitarian?

Anyhow, I thought it was extremely uncanny that the only time in my life I had ever been to Zurich (until last month, when I visited a second time), I had stayed in the building in which the final chapter of The Tanners takes place — and never knew.

On a less trivial note, that last chapter of The Tanners, particularly at the end, when the proprietress proposes to lead Simon back out into the winter night, reminded me of Bede’s sparrow:

The present life of man, O king, seems to me, in comparison of that time which is unknown to us, like to the swift flight of a sparrow through the room wherein you sit at supper in winter, with your commanders and ministers, and a good fire in the midst, whilst the storms of rain and snow prevail abroad; the sparrow, I say, flying in at one door, and immediately out at another, whilst he is within, is safe from the wintry storm; but after a short space of fair weather, he immediately vanishes out of your sight, into the dark winter from which he had emerged. So this life of man appears for a short space, but of what went before, or what is to follow, we are utterly ignorant.

Update on The Tanners

It’s amazing to think that I’ve had the new English edition of The Tanners for nearly a year, and I’m just now starting to write about it. I think I’m just now starting to understand it, actually.

Others haven’t taken quite as long. Take a look to see what, in no particular order, Monica Carter, Nick Buzanski, Drew Toal, Gary Lain, John Goldbach, Terry Pitts, Tom Cunliffe, Tim Bagdanov, and Trevor have to say.

Terry’s thoughts are the closest to mine so far.

While referring you to other writers and bloggers, I should not neglect to mention that Thomas, author of the Market Snodsbury Grammar School blog, did a good roundup of Walser-related news last month.

A look inside the Robert Walser Center

I’ve been traveling quite a bit over the past two months, so naturally I have a number of things I’ve been saving to share with you. Here’s one: a peek, courtesy of Swiss TV, inside the Robert Walser Center in Berne, which opened in September. The narration is in German, but don’t let that stop you looking.

Tagesschau vom 18.09.2009