Austerlitz
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Indeed, in this book, Sebald’s photographs of humans can be said to be fictional twice over: they are photographs of invented characters; and they are often photographs of actual people who once lived but who are now lost to history. Take the photograph of the rugby team, with Jacques Austerlitz supposedly sitting in the front row, at the far right. Who are these young men? Where did Sebald get hold of this faded group portrait? And is it likely that any of them are still alive? What is certain is that they have passed into obscurity: we don’t look at the portrait and say to ourselves, “There’s the young Winston Churchill, in the middle row.” The faces are unknown, forgotten. They are, precisely, not Wittgenstein’s famous eyes. The photograph of the little boy in his cape is even more acute in its poignancy. I have read reviews of this book that suggest it is a photograph of the young Sebald—such is our natural desire, I suppose, not to let the little boy pass into orphaned anonymity. But the photograph is not of the young Sebald; it can be found in Sebald’s literary archive at Marbach, outside Stuttgart, and there the reader finds an ordinary photographic postcard, with, on the reverse side, “Stockport: 30p” written in ink.3 The boy’s identity has disappeared (as has the woman whose photograph is shown as Agáta, the boy’s mother), and has disappeared—it might be said—even more thoroughly than Hitler’s victims, since they at least belong to blessed memory, and their murders cry out for public memorial, while the boy has vanished into the private obscurity and ordinary silence that will befall most of us. In Sebald’s work, then, and in this book especially, we experience a vertiginous relationship to a select number of photographs of humans—these pictures are explicitly part of the story that we are reading, which is about saving the dead (the story of Jacques Austerlitz), and they are also part of a larger story that is not found in the book (or only by implication), which is also about saving the dead. These people stare at us, as if imploring us to rescue them from the banal amnesia of existence. But if Jacques Austerlitz certainly cannot save his dead parents, then we certainly cannot save the little boy. To “save” him would mean saving every person who dies, would mean saving everyone who has ever died in obscurity. This, I think, is the double meaning of Sebald’s words about the boy: it is Jacques Austerlitz, but it is also the boy from Stockport (as it were), who stares out at us asking us to “avert the misfortune” of his demise, which of course we cannot do.
If the little boy is lost to us, so is Austerlitz. Like his photograph, he has also become a thing, and this is surely part of the enigma of his curious last name. He has a Jewish last name, which can indeed be found in Czech and Austrian records; as Jacques correctly tells us, Fred Astaire’s father was born with the last name of Austerlitz (“Fritz” Austerlitz was born in Austria, and had converted from Judaism to Catholicism). But Austerlitz is primarily not the name of a person but of a famous battle, and of a well-known Parisian train station. The name is unfortunate for Jacques, because its historical resonance continually pulls us away from his Jewishness (from his individuality), and towards a world-historical reference that has nothing much to do with him. Imagine a novel in which almost every page featured the phrase “Waterloo said,” or “Agincourt said.” Sebald plays with this oddity most obviously in the passage when the young Austerlitz first finds out his true surname, at school. “What does it mean?” asks Jacques, and the headmaster tells him that it is a small place in Moravia, site of a famous battle. During the next school year, the battle of Austerlitz is indeed discussed, and it turns out to be one of the set pieces of Mr. Hilary, the romantic history teacher who makes such an impression on the young Jacques. “Hilary told us, said Austerlitz, how at seven in the morning the peaks of the highest hills emerged from the mist … The Russian and Austrian troops had come down from the mountainsides like a slow avalanche.” At this moment, when we encounter the familiar “said Austerlitz,” we are briefly unsure if the character or the battle itself is speaking.
Go back, for a minute, to the headmaster’s reply, because it is one of the most quietly breathtaking moments in the novel, and can stand as an emblem of Sebald’s great powers of reticence and understatement. The headmaster, Mr. Penrith-Smith (a nice joke, because Penrith-Smith combines both an English place name and the most anonymous, least curious surname in English), has told Jacques that he is not called Dafydd Elias but Jacques Austerlitz. Jacques asks, with the enforced politeness of the English schoolboy, “Excuse me, sir, but what does it mean?” To which Mr. Penrith-Smith replies: “I think you will find it is a small place in Moravia, site of a famous battle, you know.” And that is all! And it is 1949. Jacques asks the one question that could possibly be the question of the entire novel, and the headmaster refers him only to the famous battle of 1805 between the French and the Austrians. Consider everything that is omitted, or repressed, from this reply. The headmaster might have said that Austerlitz is a Jewish name, and that Jacques is a refugee from the Nazis. He might, with the help of Mr. Hilary’s expertise, have added that Austerlitz, near Brno in what was then Czechoslovakia, once had a thriving Jewish population, and that perhaps Jacques’ name derived from that community. He might have mentioned that in 1941, the Germans established the ghetto of Theresienstadt, north of Prague (named after Queen Maria Theresa, who, in 1745, issued an edict limiting the number of Jewish families in Moravia), and that the remaining Jews of Austerlitz almost certainly perished there, or later in Auschwitz, to which place most of the inmates of Theresienstadt were eventually taken. He might have added that Jacques’ parents were unlikely to be alive.
But Mr. Penrith-Smith says none of this, and Jacques Austerlitz will spend the rest of the novel trying to find his own answer to his own question. Instead, the headmaster’s bland reply turns Jacques into the public past, into a date. What does it mean? And the answer Jacques receives is, in effect: “1805, that’s what it means.” Of all the rescues that the novel poses, the most difficult may be this one: to restore to Jacques Austerlitz the individuality of his name and experience, to rescue the living privacy of the surname “Austerlitz” from the dead, irrelevant publicity of the place name “Austerlitz.” Jacques should not be a battle, nor a railway station, nor a thing. Ultimately, we cannot perform this rescue, and the novel does not let us. The private and the public names keep on intertwining, and herein lies the power of the novel’s closing pages. We helplessly return to the Gare d’Austerlitz, from where Jacques’ father may have left Paris. In the new Bibliothèque Nationale, Jacques learns that the very building rests on the ruins of a huge wartime warehouse, where the Germans “brought all the loot they had taken from the homes of the Jews of Paris.” It was known as the Austerlitz-Tolbiac storage depot. Everything our civilization produced was brought here, says the library official, and often pilfered by German officers—ending up in, say, a “Grunewald villa” in Berlin. This knowledge is like a literalization of the well-known dictum of Walter Benjamin’s, that there is no document of civilization which is not at the same time a document of barbarism. Standing on the ruins of history, standing both in and on top of history’s depository, Jacques Austerlitz is joined by his name to these ruins: and again, at the end of the book, as at the beginning, he threatens to become simply part of the rubble of history, a thing, a depository of facts and dates, not a human being. And throughout the novel, present but never spoken, never written—it is the most beautiful act of Sebald’s withholding—is the other historical name that shadows the name Austerlitz, the name that begins and ends with the same letters, the name which we sometimes misread Austerlitz as, the place that Agáta Austerlitz was almost certainly “sent east” to in 1944, and the place that Maximilian Aychenwald was almost certainly sent to from the French camp in Gurs, in 1942: Auschwitz.
—Grunewald, Berlin, 2011
JAMES WOOD is a staff writer at The New Yorker and a visiting lecturer in English and American literature at Harvard. He is the author of two essay collections, The Broken Estate and The Irresponsible Self, and a novel, The Book Against God.
2. Roland Barthes, Camera Lucida, trans. Richard Howard (New York: 1981).
3. Deutsches Literaturarchiv, Marbach am Neckar. Sebald once confided to me, in an interview, that about 30 percent of the photographs in The Emigrants had an entirely fictitious relationship to their supposed subjects. Sebald, for instance, wrote the farewell note that Ambros Adelwarth writes to his family, and then took the photograph himself.
In the second half of the 1960s I traveled repeatedly from England to Belgium, partly for study purposes, partly for other reasons which were never entirely clear to me, staying sometimes for just one or two days, sometimes for several weeks. On one of these Belgian excursions which, as it seemed to me, always took me further and further abroad, I came on a glorious early summer’s day to the city of Antwerp, known to me previously only by name. Even on my arrival, as the train rolled slowly over the viaduct with its curious pointed turrets on both sides and into the dark station concourse, I had begun to feel unwell, and this sense of indisposition persisted for the whole of my visit to Belgium on that occasion. I still remember the uncertainty of my footsteps as I walked all round the inner city, down Jeruzalemstraat, Nachtegaalstraat, Pelikaanstraat, Paradijsstraat, Immerseelstraat, and many other streets and alleyways, until at last, plagued by a headache and my uneasy thoughts, I took refuge in the zoo by the Astridplein, next to the Centraal Station, waiting for the pain to subside. I sat there on a bench in dappled shade, beside an aviary full of brightly feathered finches and siskins fluttering about. As the afternoon drew to a close I walked through the park, and finally went to see the Nocturama, which had first been opened only a few months earlier. It was some time before my eyes became used to its artificial dusk and I could make out different animals leading their sombrous lives behind the glass by the light of a pale moon. I cannot now recall exactly what creatures I saw on that visit to the Antwerp Nocturama, but there were probably bats and jerboas from Egypt and the Gobi Desert, native European hedgehogs and owls, Australian opossums, pine martens, dormice, and lemurs, leaping from branch to branch, darting back and forth over the grayish-yellow sandy ground, or disappearing into a bamboo thicket. The only animal which has remained lingering in my memory is the raccoon. I watched it for a long time as it sat beside a little stream with a serious expression on its face, washing the same piece of apple over and over again, as if it hoped that all this washing, which went far beyond any reasonable thoroughness, would help it to escape the unreal world in which it had arrived, so to speak, through no fault of its own. Otherwise, all I remember of the denizens of the Nocturama is that several of them had strikingly large eyes, and the fixed, inquiring gaze found in certain painters and philosophers who seek to penetrate the darkness which surrounds us purely by means of looking and thinking.
I believe that my mind also dwelt on the question of whether the electric light was turned on for the creatures in the Nocturama when real night fell and the zoo was closed to the public, so that as day dawned over their topsy-turvy miniature universe they could fall asleep with some degree of reassurance. Over the years, images of the interior of the Nocturama have become confused in my mind with my memories of the Salle des pas perdus, as it is called, in Antwerp Centraal Station. If I try to conjure up a picture of that waiting room today I immediately see the Nocturama, and if I think of the Nocturama the waiting room springs to my mind, probably because when I left the zoo that afternoon I went straight into the station, or rather first stood in the square outside it for some time to look up at the façade of that fantastical building, which I had taken in only vaguely when I arrived in the morning. Now, however, I saw how far the station constructed under the patronage of King Leopold II exceeded its purely utilitarian function, and I marveled at the verdigris-covered Negro boy who, for a century now, has sat upon his dromedary on an oriel turret to the left of the station façade, a monument to the world of the animals and native peoples of the African continent, alone against the Flemish sky. When I entered the great hall of the Centraal Station with its dome arching sixty meters high above it, my first thought, perhaps triggered by my visit to the zoo and the sight of the dromedary, was that this magnificent although then severely dilapidated foyer ought to have cages for lions and leopards let into its marble niches, and aquaria for sharks, octopuses, and crocodiles, just as some zoos, conversely, have little railway trains in which you can, so to speak, travel to the farthest corners of the earth. It was probably because of ideas like these, occurring to me almost of their own accord there in Antwerp, that the waiting room which, I know, has now been turned into a staff canteen struck me as another Nocturama, a curious confusion which may of course have been the result of the sun’s sinking behind the city rooftops just as I entered the room. The gleam of gold and silver on the huge, half-obscured mirrors on the wall facing the windows was not yet entirely extinguished before a subterranean twilight filled the waiting room, where a few travelers sat far apart, silent and motionless. Like the creatures in the Nocturama, which had included a strikingly large number of dwarf species—tiny fennec foxes, spring-hares, hamsters—the railway passengers seemed to me somehow miniaturized, whether by the unusual height of the ceiling or because of the gathering dusk, and it was this, I suppose, which prompted the passing thought, nonsensical in itself, that they were the last members of a diminutive race which had perished or had been expelled from its homeland, and that because they alone survived they wore the same sorrowful expression as the creatures in the zoo. One of the people waiting in the Salle des pas perdus was Austerlitz, a man who then, in 1967, appeared almost youthful, with fair, curiously wavy hair of a kind I had seen elsewhere only on the German hero Siegfried in Fritz Lang’s Nibelungen film. That day in Antwerp, as on all our later meetings, Austerlitz wore heavy walking boots and workman’s trousers made of faded blue calico, together with a tailor-made but long outdated suit jacket. Apart from these externals he also differed from the other travelers in being the only one who was not staring apathetically into space, but instead was occupied in making notes and sketches obviously relating to the room where we were both sitting—a magnificent hall more suitable, to my mind, for a state ceremony than as a place to wait for the next connection to Paris or Oostende—for when he was not actually writing something down his glance often dwelt on the row of windows, the fluted pilasters, and other structural details of the waiting room. Once Austerlitz took a camera out of his rucksack, an old Ensign with telescopic bellows, and took several pictures of the mirrors, which were now quite dark, but so far I have been unable to find them among the many hundreds of pictures, most of them unsorted, that he entrusted to me soon after we met again in the winter of 1996. When I finally went over to Austerlitz with a question about his obvious interest in the waiting room, he was not at all surprised by my direct approach but answered me at once, without the slightest hesitation, as I have variously found since that solitary travelers, who so often pass days on end in uninterrupted silence, are glad to be spoken to. Now and then they are even ready to open up to a stranger unreservedly on such occasions, although that was not the case with Austerlitz in the Salle des pas perdus, nor did he subsequently tell me very much about his origins and his own life. Our Antwerp conversations, as he sometimes called them later, turned primarily on architectural history, in accordance with his own astonishing professional expertise, and it was the subject we discussed that evening as we sat together until nearly midnight in the restaurant facing the waiting room on the other side of the great domed hall. The few guests still lingering at that late hour one by one deserted the buffet, which was constructed like a mirror image of the waiting room, until we were left alone with a solitary man drinking Fernet and the barmaid, who sat enthroned on a stool behind the counter, legs crossed, filing her nails with complete devotion and concentration. Austerlitz commented in passing of this lady, whose peroxide-blond hair was
piled up into a sort of bird’s nest, that she was the goddess of time past. And on the wall behind her, under the lion crest of the kingdom of Belgium, there was indeed a mighty clock, the dominating feature of the buffet, with a hand some six feet long traveling round a dial which had once been gilded, but was now blackened by railway soot and tobacco smoke. During the pauses in our conversation we both noticed what an endless length of time went by before another minute had passed, and how alarming seemed the movement of that hand, which resembled a sword of justice, even though we were expecting it every time it jerked forward, slicing off the next one-sixtieth of an hour from the future and coming to a halt with such a menacing quiver that one’s heart almost stopped. Towards the end of the nineteenth century, Austerlitz began, in reply to my questions about the history of the building of Antwerp station, when Belgium, a little patch of yellowish gray barely visible on the map of the world, spread its sphere of influence to the African continent with its colonial enterprises, when deals of huge proportions were done on the capital markets and raw-materials exchanges of Brussels, and the citizens of Belgium, full of boundless optimism, believed that their country, which had been subject so long to foreign rule and was divided and disunited in itself, was about to become a great new economic power—at that time, now so long ago although it determines our lives to this day, it was the personal wish of King Leopold, under whose auspices such apparently inexorable progress was being made, that the money suddenly and abundantly available should be used to erect public buildings which would bring international renown to his aspiring state. One of the projects thus initiated by the highest authority in the land was the central station of the Flemish metropolis, where we were sitting now, said Austerlitz; designed by Louis Delacenserie, it was inaugurated in the summer of 1905, after ten years of planning and building, in the presence of the King himself. The model Leopold had recommended to his architects was the new railway station of Lucerne, where he had been particularly struck by the concept of the dome,* so dramatically exceeding the usual modest height of railway buildings, a concept realized by Delacenserie in his own design, which was inspired by the Pantheon in Rome, in such stupendous fashion that even today, said Austerlitz, exactly as the architect intended, when we step into the entrance hall we are seized by a sense of being beyond the profane, in a cathedral consecrated to international traffic and trade. Delacenserie borrowed the main elements of his monumental structure from the palaces of the Italian Renaissance, but he also struck Byzantine and Moorish notes, and perhaps when I arrived, said Austerlitz, I myself had noticed the round gray and white granite turrets, the sole purpose of which was to arouse medieval associations in the minds of railway passengers. However laughable in itself, Delacenserie’s eclecticism, uniting past and future in the Centraal Station with its marble stairway in the foyer and the steel and glass roof spanning the platforms, was in fact a logical stylistic approach to the new epoch, said Austerlitz, and it was also appropriate, he continued, that in Antwerp Station the elevated level from which the gods looked down on visitors to the Roman Pantheon should display, in hierarchical order, the deities of the nineteenth century—mining, industry, transport, trade, and capital. For halfway up the walls of the entrance hall, as I must have noticed, there were stone escutcheons bearing symbolic sheaves of corn, crossed hammers, winged wheels, and so on, with the heraldic motif of the beehive standing not, as one might at first think, for nature made serviceable to mankind, or even industrious labor as a social good, but symbolizing the principle of capital accumulation.