by W. G. Sebald
For months, said Austerlitz, I tried in vain, through the good offices of the Imperial War Museum and other agencies, to find any clue to the present location of that film, since although I had been to Theresienstadt before leaving Prague, and despite Adler’s meticulous account, which I had read down to the last footnote with the greatest attention, I found myself unable to cast my mind back to the ghetto and picture my mother Agáta there at the time. I kept thinking that if only the film could be found I might perhaps be able to see or gain some inkling of what it was really like, and then I imagined recognizing Agáta, beyond any possibility of doubt, a young woman as she would be by comparison with me today, perhaps among the guests outside the fake coffeehouse, or a saleswoman in the haberdashery shop, just taking a fine pair of gloves carefully out of one of the drawers, or singing the part of Olympia in the Tales of Hoffmann which, so Adler says, was staged in Theresienstadt in the course of the improvements campaign. I imagined seeing her walking down the street in a summer dress and lightweight gabardine coat, said Austerlitz: among a group of ghetto residents out for a stroll, she alone seemed to make straight for me, coming closer with every step, until at last I thought I could sense her stepping out of the frame and passing over into me. It was wishful fantasies such as these which cast me into a state of great excitement when the Imperial War Museum finally succeeded, through the Federal Archives in Berlin, in obtaining a cassette copy of the film of Theresienstadt for which I had been searching. I remember very clearly, said Austerlitz, how I sat in one of the museum’s video viewing rooms, placed the cassette in the black opening of the recorder with trembling hands, and then, although unable to take in any of it, watched various tasks being carried out at the anvil and forge of a smithy, in the pottery and wood-carving workshop, in the handbag-making and shoe-manufacturing sections—a constant, pointless to-do of hammering, metal-beating, and welding, cutting, gluing, and stitching; I saw an unbroken succession of strangers’ faces emerge before me for a few seconds, I saw workers leaving the huts when the siren had sounded and crossing an empty field beneath a sky filled with motionless white clouds, a game of football in the inner court of one of the barrack buildings, with hundreds of cheerful spectators crowding the arcades and the galleries on the first and second floors, I saw men under the showers in the central bathhouse, books being borrowed from the library by gentlemen of soigné appearance, I saw a full-scale orchestral concert and, in the moat surrounding the fortified town, kitchen gardens neatly laid out where several dozen people were raking the vegetable beds, watering beans and tomatoes, searching brassica leaves for Cabbage White caterpillars, whilst at the end of the day others were sitting on benches outside the houses, apparently in perfect contentment, letting the children play a little longer, one man reading a book, a woman talking to her neighbor, many of them just taking their ease at their windows, arms folded, in a way once common at the onset of dusk. At first I could get none of these images into my head; they merely flickered before my eyes as the source of continual irritation or vexation, which was further reinforced when, to my horror, it turned out that the Berlin cassette inscribed with the original title of Der Führer schenkt den Juden eine Stadt had on it only a patchwork of scenes cobbled together and lasting some fourteen minutes, scarcely more than an opening sequence in which, despite the hopes I had entertained, I could not see Agáta anywhere, however often I ran the tape and however hard I strained to make her out among those fleeting faces. In the end the impossibility of seeing anything more closely in those pictures, which seemed to dissolve even as they appeared, said Austerlitz, gave me the idea of having a slow-motion copy of this fragment from Theresienstadt made, one which would last a whole hour, and indeed once the scant document was extended to four times its original length, it did reveal previously hidden objects and people, creating, by default as it were, a different sort of film altogether, which I have since watched over and over again. The men and women employed in the workshops now looked as if they were toiling in their sleep, so long did it take them to draw needle and thread through the air as they stitched, so heavily did their eyelids sink, so slowly did their lips move as they looked wearily up at the camera. They seemed to be hovering rather than walking, as if their feet no longer quite touched the ground. The contours of their bodies were blurred and, particularly in the scenes shot out of doors in broad daylight, had dissolved at the edges, resembling, as it occurred to me, said Austerlitz, the frayed outlines of the human hand shown in the fluidal pictures and electrographs taken by Louis Draget in Paris around the turn of the century. The many damaged sections of the tape, which I had hardly noticed before, now melted the image from its center or from the edges, blotting it out and instead making patterns of bright white sprinkled with black which reminded me of aerial photographs taken in the far north, or a drop of water seen under the microscope. Strangest of all, however, said Austerlitz, was the transformation of sounds in this slow-motion version. In a brief sequence at the very beginning, showing red-hot iron being worked in a smithy to shoe a draft ox, the merry polka by some Austrian operetta composer on the sound track of the Berlin copy had become a funeral march dragging along at a grotesquely sluggish pace, and the rest of the musical pieces accompanying the film, among which I could identify only the can-can from La Vie Parisienne and the scherzo from Mendelssohn’s Midsummer Night’s Dream, also moved in a kind of subterranean world, through the most nightmarish depths, said Austerlitz, to which no human voice has ever descended.
None of the words of the commentary could be distinguished anymore. At the point where, on the original Berlin copy, a male voice, in high-pitched, strenuous tones forced through the larynx, had spoken of task forces and cohorts of workers deployed, as circumstances required, in various different ways, or if necessary retrained, so that everyone willing to work—jeder Arbeitswillige!, so Austerlitz interrupted himself—had an opportunity of fitting seamlessly into the production process, at this point of the tape all that could now be made out, Austerlitz continued, was a menacing growl such as I had heard only once before in my life, on an unseasonably hot May Day many years ago in the Jardin des Plantes in Paris when, after one of the peculiar turns that often came over me in those days, I rested for a while on a park bench beside an aviary not far from the big cats’ house, where the lions and tigers, invisible from my vantage point and, as it struck me at the time, said Austerlitz, driven out of their minds in captivity, raised their hollow roars of lament hour after hour without ceasing. And then, Austerlitz continued, towards the end of the film there was the comparatively long sequence showing the first performance of a piece of music composed in Theresienstadt, Pavel Haas’s study for string orchestra, if I am not mistaken. The series of frames begins with a view into the hall from the back. The windows are wide open, and a large audience is sitting not in rows as usual at a concert, but as if they were in some sort of tavern or hotel dining room, in groups of four around tables. The chairs, probably made specially for the occasion in the carpentry workshop of the ghetto, are of pseudo-Tyrolean design with heart shapes sawn out of their backs. In the course of the performance the camera lingers in close-up over several members of the audience, including an old gentleman whose cropped gray head fills the right-hand side of the picture, while at the left-hand side, set a little way back and close to the upper edge of the frame, the face of a young woman appears, barely emerging from the black shadows around it, which is why I did not notice it at all at first. Around her neck, said Austerlitz, she is wearing a three-stringed and delicately draped necklace which scarcely stands out from her dark, high-necked dress, and there is, I think, a white flower in her hair. She looks, so I tell myself as I watch, just as I imagined the singer Agáta from my faint memories and the few other clues to her appearance that I now have, and I gaze and gaze again at that face, which seems to me both strange and familiar, said Austerlitz, I run the tape back repeatedly, looking at the time indicator in the top left-hand corner of the screen, where the figures
covering part of her forehead show the minutes and seconds, from 10:53 to 10:57, while the hundredths of a second flash by so fast that you cannot read and capture them.
—At the beginning of this year, Austerlitz finally continued his narrative, after lapsing, as so often, into deep abstraction in the middle of it, at the beginning of this year, he said, not long after our last meeting, I went to Prague for a second time, resumed my conversations with Vera, set up a kind of pension fund at a bank for her, and did what else I could to ease her life in the šporkova. When it was not too cold out of doors we called a taxi driver, whom I had engaged to be at Vera’s disposal should she need him, to take us to some of the places she had mentioned and which she herself had not seen, as she put it, for an eternity. We looked down at the city again from the observation tower on Petřín Hill, watching the cars and trains crawling slowly along the banks of the Vltava and over the bridges. We walked for a little while through the Baumgarten by the river in the pale winter sunlight, we sat for an hour or so in the planetarium on the Holešovice exhibition grounds, repeating the names of those heavenly constellations we could recognize, first in French and then in Czech or vice versa, and once we went out to the game park at Liboc where, surrounded on all sides by lovely meadows, there is a star-shaped house built as his summer residence by Archduke Ferdinand of the Tyrol, which Vera had told me was a favorite destination of Agáta and Maximilian on their excursions out of the city. I also spent several days searching the records for the years 1938 and 1939 in the Prague theatrical archives in the Celetná, and there, among letters, files on employees, programs, and faded newspaper cuttings, I came upon the photograph of an anonymous actress who seemed to resemble my dim memory of my mother, and in whom Vera, who had already spent some time studying the face of the woman in the concert audience which I had copied from the Theresienstadt film, before shaking her head and putting it aside, immediately and without a shadow of doubt, as she said, recognized Agáta as she had then been.
—During this part of his tale, we walked from the cemetery behind St. Clement’s Hospital all the way back to Liverpool Street. When we took leave of each other outside the railway station, Austerlitz gave me an envelope which he had with him and which contained the photograph from the theatrical archives in Prague, as a memento, he said, for he told me that he was now about to go to Paris to search for traces of his father’s last movements, and to transport himself back to the time when he too had lived there, in one way feeling liberated from the false pretenses of his English life, but in another oppressed by the vague sense that he did not belong in this city either, or indeed anywhere else in the world.
*
It was in September of the same year that I received a postcard from Austerlitz giving me his new address (6 rue des cinq Diamants, in the Thirteenth Arrondissement), which I knew was in the nature of an invitation to visit him as soon as it could be arranged. When I arrived at the gare du Nord, high summer temperatures still prevailed, at the end of a drought which had been parching large parts of the country for over two months, and they did not begin to drop until October. The thermometer rose to over twenty-five degrees quite early in the morning, and towards midday the city was groaning beneath the heavy haze of lead and petrol fumes weighing down like a bell jar on the entire Ile de France. The blue-gray air was motionless and took one’s breath away. The traffic inched along the boulevards, the tall stone façades quivered like mirages in the shimmering light, the leaves of the trees in the Tuileries and the Jardin du Luxembourg were scorched, the passengers in the Métro trains and the endless underpasses through which a hot desert wind blew were exhausted. I met Austerlitz, as agreed, on the day after my arrival, in the Le Havane bistro bar on the boulevard Auguste Blanqui, not far from the Glacière Métro station. As I entered the bar, which was rather dark even in the middle of the day, a television screen measuring at least two square meters and fixed high on the wall was just transmitting pictures of the great palls of smoke which had been stifling the towns and villages of Indonesia for weeks on end, and dusting gray ash over the heads of all who for any reason ventured out of doors, wearing masks to protect their faces. We both watched these calamitous images from the other end of the earth for some time before Austerlitz, as usual without any preamble, continued his story. When I was first in Paris at the end of the 1950s, he said, turning to me, I had a room in the apartment of an elderly lady of almost transparent appearance called Amélie Cerf, who lived at Number 6, rue Émile Zola, not far from the pont Mirabeau, a shapeless concrete block which I still sometimes see in my nightmares today. On my return now I had really meant to find somewhere to stay in the same street, but then after all I decided to rent a place here in the Thirteenth Arrondissement, since my father, Maximilian Aychenwald, whose last known address was in the rue Barrault, must have frequented this area at least for a while before, as it seems, he disappeared irrevocably and without trace. At any rate, my inquiries at the house in the rue Barrault, most of which is now empty, were fruitless, and so were my inquiries at various agencies in the prefecture, partly because of the proverbially unhelpful attitude of Parisian officials, which was even more marked than usual on account of the interminable hot summer weather, and partly because I myself found it increasingly difficult to go from one bureau to another making what I was coming to conclude were useless requests for further information. Soon I was merely wandering without any aim or plan in mind down the streets leading away from the boulevard Auguste Blanqui, up to the place d’Italie on one side and back down to the Glacière on the other, always thinking, against all reason, that I might suddenly see my father appear out of nowhere, coming towards me or stepping out of an entrance.
I sat in this bar too for hours on end, trying to imagine him in his plum-colored double-breasted suit, perhaps a little threadbare now, bent over one of the café tables and writing those letters to his loved ones in Prague which never arrived. I kept wondering whether he had been interned in the half-built housing estate out at Drancy after the first police raid in Paris in August 1941, or not until July of the following year, when a whole army of French gendarmes took thirteen thousand of their Jewish fellow citizens from their homes, in what was called the grande rafle, during which over a hundred of their victims jumped out of the windows in desperation or found some other way of committing suicide. I sometimes thought I saw the windowless police cars racing through a city frozen with terror, the crowd of detainees camping out in the open in the Vélodrome d’Hiver, and the trains on which they were soon deported from Drancy and Bobigny; I pictured their journey through the Greater German Reich, I saw my father still in his good suit and his black velour hat, calm and upright among all those frightened people. Then again, I thought that Maximilian would surely have left Paris in time, had gone south on foot across the Pyrenees, and perished somewhere along his way. Or I felt, as I was saying, said Austerlitz, as if my father were still in Paris and just waiting, so to speak, for a good opportunity to reveal himself. Such ideas infallibly come to me in places which have more of the past about them than the present. For instance, if I am walking through the city and look into one of those quiet courtyards where nothing has changed for decades, I feel, almost physically, the current of time slowing down in the gravitational field of oblivion. It seems to me then as if all the moments of our life occupy the same space, as if future events already existed and were only waiting for us to find our way to them at last, just as when we have accepted an invitation we duly arrive in a certain house at a given time. And might it not be, continued Austerlitz, that we also have appointments to keep in the past, in what has gone before and is for the most part extinguished, and must go there in search of places and people who have some connection with us on the far side of time, so to speak? For instance, one curiously gloomy morning recently I was in the Cimetière de Montparnasse, laid out by the Hospitalers in the seventeenth century on land belonging to the Hôtel de Dieu and now surrounded by towering office blocks, walking among th
e gravestones erected in a vaguely segregated part in memory of members of the Woelfflin, Wormser, Mayerbeer, Ginsberg, Franck, and many other Jewish families, and I felt as if, despite knowing nothing of my origins for so long, I had lingered among them before, or as if they were still accompanying me. I read all their euphonious German names and retained them in my mind—thinking of my landlady in the rue Émile Zola and of a certain Hippolyte Cerf who was born in Neuf-Brisach in 1807, probably as Hippolyt Hirsch, and according to the inscription had died in Paris on the eighth of March 1890, the sixteenth of Adar 5650, many years after his marriage to one Antoinette Fulda of Frankfurt. Among the children of these forebears who had moved from Germany to the French capital were Adolphe and Alfonse, together with Jeanne and Pauline, who had brought Messrs. Lanzberg and Ochs into the family as sons-in-law, and a generation later came Hugo and Lucie Sussfeld, née Ochs, who had a memorial plaque half-hidden by a dried-up asparagus fern inside the cramped mausoleum, informing visitors to the grave that the couple had died on being deported in 1944.
