Archive for September, 2010

A small stone, a damaged book

Elif Batuman writes in the New York Times Magazine today (“Kafka’s Last Trial”) about the legal tussles over the one-third of Kafka manuscripts that didn’t end up in Oxford, but rather in the hands of Brod’s former secretary, Esther Hoffe, in Tel Aviv. You’ve probably seen a couple of articles on the same subject recently, but this one features an appearance by one of the original Microscript decipherers, Bernhard Echte, as well as a cameo by our man RW, or rather by one of his books:

    The incompleteness of the inventory [of Brod's secretary's archive] leaves many questions about the contents of the estate. The answers may well be in a more thorough catalog compiled in the ’80s by a philologist named Bernhard Echte, now the publisher of Nimbus Books in Switzerland. Copies of Echte’s inventory, which lists some 20,000 pages of material, are closely guarded. Heller has been trying vainly to get one for years.

    Echte, the rare scholar whose brush with the Kafka papers doesn’t seem to have injured his sense for the magic of literary discovery, is also the only interviewee in this story who described Esther Hoffe with genuine warmth. Echte told me in an e-mail interview that Hoffe “really tried to fulfill Max Brod’s will because she admired and loved Max Brod like a young girl (and I liked her very much for it).” Although her preference for “books with a good and interesting story” led her to find Kafka “strange,” Echte said, she nonetheless recognized Kafka’s importance to world literature and was prevented only by old age from placing the papers at Marbach. Echte fondly recalled “all the discoveries we made — Mrs. Hoffe and me.” Inside “quite a normal folder” for example, they found “two or three sheets of paper with Kafka’s last notes from Kierling,” the sanitarium where Kafka died. In Zurich, they unearthed a letter that Kafka sent to Brod in 1910, enclosing two birthday gifts: “a small stone,” still in the envelope, and “a damaged book” — which turned up two years later at Spinoza Street and proved to be a novel by Robert Walser. Other treasures that Echte described to me included a copy of “Tristan Tzara’s ‘Première Aventure Céleste de M. Antipyrine,’ the first Dada publication, with a personal dedication of the author to Kafka. Imagine that!”

It was nice to see Echte, recognizably the same good-natured fellow who observed that he enjoyed meeting Walser fans because they are “kind people inclined to self-irony.”

But what book was it, do you suppose, that Kafka gave to Brod? In 1910, I could have been any of the volumes published before that date, including:

    Fritz Kochers Aufsätze (1904)
    Geschwister Tanner (1907)
    Der Gehülfe (1908)
    Jakob von Gunten (1909)
    Gedichte (1909)

Perhaps we’ll know someday, when the letters are published.

Reading the World Event: Walser

I’ll be envying the folks in Rochester tonight, no doubt:

    For all of you within driving distances of Rochester, you really should come out tonight for our first Reading the World Conversation Series Event of the season. Barbara Epler (publisher of New Directions) will be talking with Susan Bernofsky (translator of a number of German authors) about Robert Walser’s Microscripts, which recently came out from ND in Susan’s stellar (as always, as expected) translation. [more]

A recording is promised.

Micros goes to second printing

Good news from Susan Bernofsky on Facebook yesterday, regarding sales of the Microscripts:

In fact, I just heard that New Directions has now sold out its first print run of 3500 (there may still be some in bookstores) and is having more printed!

Pretty cool!

By the way, if you’re on Facebook you should search “Robert Walser” to discover a lot of pages related to our hero. The largest Walser fan page is here. My page is here.

To discuss, à la Foucault

The Brooklyn Rail, which now and then has shown a certain acquaintance, awareness, and conversance with the works of our man RW, now offers a review of the Microscripts in its freshly-made September 2010 issue. Read it here.

The review is penned by Johannah Rodgers, who asks a good question, namely: “why Susan Bernofsky selected these particular texts to translate.” It never occurred to me to ask.

She also raises an interesting parallel between Walser’s microscripts and the late, fragmentary, or unfinished works of other writers. She suggests (though quickly dismisses) that some people might even compare the microscripts with items of secondary or tertiary interest such as a writer’s notes or shopping lists. I’ve seen few people make either comparison; it certainly hasn’t occurred to me. Yet it does seems sort of obvious, doesn’t it? Where are the people championing the published works over the works in microscript? Perhaps there are too many of these micro manuscripts — hard to dismiss output as peripheral when it constitutes so much of his known work — or perhaps they are so clearly from another stage in Walser’s evolution, rather than like earlier works in draft or unfinished form, that they require consideration on their own. Lastly, of course, perhaps the works are themselves so original and compelling as works of art they demand to be considered on par with everything else he wrote.

One’s dream was shot by darkness

The Fall 2010 issue of the The Adirondack Review features two Robert Walser poems translated by Daniele Pantano.

One of these poems (“Oppressive Light”) will be familiar and the other (“Beer Scene”) won’t. Both are provided in the original German as well as in English translation. Read them here.

By the way, I think all editions of poetry in translation should be bilingual editions, don’t you?