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Austerlitz, the internationally acclaimed masterpiece by “one of the most gripping writers imaginable” (The New York Review of Books), is the story of a man’s search for the answer to his life’s central riddle. A small child when he comes to England on a Kindertransport in the summer of 1939, one Jacques Aus-terlitz is told nothing of his real family by the Welsh Methodist minister and his wife who raise him. When he is a much older man, fleeting memories return to him, and obeying an instinct he only dimly understands, he follows their trail back to the world he left behind a half century before. There, faced with the void at the heart of twentieth-century Europe, he struggles to rescue his heritage from oblivion.
- Sales Rank: #356031 in Books
- Published on: 2002-09-03
- Released on: 2002-09-03
- Original language: English
- Number of items: 1
- Dimensions: 7.90" h x .60" w x 5.12" l,
- Binding: Paperback
- 304 pages
Amazon.com Review
If the mark of a great novel is that it creates its own world, drawing in the reader with its distinctive rhythms and reverberations, then W.G. Sebald's Austerlitz may be the first great novel of the new century. An unnamed narrator, resting in a waiting room of the Antwerp rail station in the late 1960s, strikes up a conversation with a student of architecture named Austerlitz, about whom he knows almost nothing. Over the next several years, the narrator often runs into his odd, engaging acquaintance by chance on his travels, until finally, after a gap of two decades, Austerlitz decides to tell the narrator the story of his life and of his search for his origins in wartime Europe. Slow and meditative, relying on the cumulative effect of its sedate, musical prose and its dark subject matter (illuminated here and there with hope), Sebald's novel doesn't overturn the conventions of fiction, but transcends them. It is a love story to history and vanished beauty. Don't let the slow beginning turn you away. Austerlitz takes its time getting off the ground, but is well worth seeing in flight. --Regina Marler
From Publishers Weekly
The ghost of what historian Peter Gay calls "the bourgeois experience," molded in the liberalism and neurasthenia of the 19th century and destroyed in the wars and concentration camps of the 20th century, haunts W.G. Sebald's unique novels. His latest concerns the melancholic life of Jacques Austerlitz who, justifiably, exclaims, "At some point in the past, I thought, I must have made a mistake, and now I am living the wrong life." The unnamed narrator met Austerlitz, an architectural historian, in Belgium in the '60s, then lost track of his friend in the '70s. When they accidentally run into each other in 1996, Austerlitz tells the story that occupies the rest of the book the story of Austerlitz's life. For a long time, Austerlitz did not know his real mother and father were Prague Jews his first memories were of his foster parents, a joyless Welsh couple. While exploring the Liverpool Street railroad station in London, Austerlitz experiences a flashback of himself as a four-year-old. Gradually, he tracks his history, from his birth in Prague to a cultivated couple through his flight to England, on the eve of WWII, on a train filled with refugee children. His mother, Agata, was deported first to Theresienstadt and then, presumably, to Auschwitz. His father disappeared in Paris. Austerlitz's isolation and depression deepen after learning these facts. As Sebald's readers will expect, the novel is filled with scholarly digressions, ranging from the natural history of moths to the typically overbearing architecture of the Central European spas. In this novel as in previous ones, Sebald writes as if Walter Benjamin's terrible "angel of history" were perched on his shoulder. B&w photos. (Oct.)Forecast: Gambling (safely) on Sebald's progress from cult favorite to major figure, Random House has picked up the author from former publisher New Directions and is sending him on an author tour. Though his latest isn't as startling and exciting as The Emigrants or The Rings of Saturn, it is a significant achievement, and Sebald should continue to attract ever more attention.
Copyright 2001 Cahners Business Information, Inc.
From School Library Journal
Winner of the Berlin Literature and Literatur Nord prizes and the Los Angeles Times Book Award, Sebald has previously been published here by New Directions but now jumps to a bigger house. The narrator recounts the story of his friend, Jacques Austerlitz, who came to Britain on a kindertransport and as an adult must painfully reconstruct his past.
Copyright 2001 Reed Business Information, Inc.
Most helpful customer reviews
0 of 0 people found the following review helpful.
A study of life's substance lost
By D. Cipster
It's dark and obscure, despite its careful attention to detail. Perhaps that is what Sebald wants to communicate; how, ultimately, the history and meaning of our own lives recede into darkness and obscurity of civilization and time. Just as Austerlitz lost the trail of his own parents' fortunes or misfortunes, his own life will eventually meet a similar fate. Those details, those clues of who we were... They are like the moth in the jar - a dead form, without the substance. This is a heavy read, but it is one that appeals to the mind, not the emotions. I liked it.
0 of 0 people found the following review helpful.
memory's train
By M. Benet
One does not -- indeed, one cannot -- sum up a work by W.G. Sebald, without losing an essential part of its meaning and effect. Like "The Emigrants" and "The Rings of Saturn," "Austerlitz" is also a work in which memory is the breath that animates and connects the seemingly disparate stories, gallery of random photos, scientific facts, and historical accounts into a literary pattern that reinvents writing.
At the beginning of the book, the nameless narrator, who is in transit, (as are all the nameless narrators in Sebald's books) starts a conversation in the railway station in Antwerp with a man named Austerlitz. This mostly one-sided exchange lasts some 30 years.
In the first part of the book, the discussion centers on architecture, specifically on the structural remnants of projects that recall ambitious attempts at social engineering, but which, in Sebald's prose, now stand out as relics of the folly that inspired them. Austerlitz, who is without a first name in the early years of this extended conversation -- as if he were not fully a person yet -- relates to the world around him through the study of architecture, books, and the photos he keeps, and this is what he shares with us through the narrator.
As the narrator and Austerlitz keep on meeting, Austerlitz's character takes on ever more personality in the recollections, first of a Welsh childhood spent with emotionally distant foster parents, then, later, in accounts of his years of coming into a life of his own in boarding school.
After finishing his studies, Austerlitz lives a life in which books and architecture feature prominently, but just as he settles down to gather his collection of writings, photos, and research into a book, he experiences a breakdown. In this state, language, which Austerlitz compares to "an old city full of streets, and squares, nooks and crannies," fails him completely and he finds himself wandering the streets of London at odd hours. During his wanderings, in an abandoned part of an Underground station he has a flashback of arriving there as a four year old. From here on, the book takes on a lyrical, almost luminous turn, as Austerlitz recovers his past in Prague and so acquires a first name.
The last part of the book takes us to Paris and gives us a complex take on the relationship between the "gare d'Austerlitz" and the towers of the new Bibliotheque Nationale. On the surface, Austerlitz seems to be telling the story of his search for his father throughout the streets of Paris and in the archives of the new colossal library, which, to him "is inimical to human beings, and runs counter, on principle, ... , to the requirements of any true reader." But, in fact, Austerlitz's account of the Babylonian library and his descriptions of the ornate iron work of the Austerlitz railway station frames what lies between and beneath these two structures -- one a repository of knowledge and culture, the other a metaphor for motion and change. For it was here, under the library's soaring towers, that, during World War II, the Germans, with the help of the French, "brought all the loot they had taken from the homes of the Jews of Paris," and sorted it according to elaborate schemes of categories and procedures.
Here, under what is now the library, people were once divested not only of their things, but also of an identity -- the kind of self-knowledge that is born from the intricate and long dance between people and the objects with which they fill their environment. Here also, and on a different scale, these same things lost something essential in this process of systematic classification and sorting.
For Austerlitz, under this soaring library lie the marshes of memory and history. Here the poignant particulars of the everyday life of a group of people were lost. Here they also remain invisible from that bird's eye perspective from the library, as they do in the mist of the sooty clouds of smoke that rise from locomotives -- those quintessential metaphors for the engine that drove the industrial revolution and the rise of capitalism.
As a writer, Sebald moves us -- even as we are moving along with his narrator, whether on foot, on train, or in the air -- by helping us see, whether from the lofty heights of libraries or in the close-up of a photo, that which lies buried or sunken in the burnt-out fields of memory. Sebald's genius is in the way in which he uses his writing to excavate the foundations of the soul -- as we have come to understand that notion in the twentieth century.
0 of 0 people found the following review helpful.
Very good book. Highly recommend.
By James Crue
This was a really good book. Austerlitz is an amazing character. I really liked how Sebald structured this narrative! Highly recommend.
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