The Emigrants

by W. G. Sebald

  As for myself, on those Sundays in the utterly deserted hotel I would regularly be overcome by such a sense of aimlessness and futility that I would go out, purely in order to preserve an illusion of purpose, and walk about amidst the city's immense and time-blackened nineteenth-century buildings, with no particular destination in mind. On those wanderings, when winter light flooded the deserted streets and squares for the few rare hours of real daylight, I never ceased to be amazed by the completeness with which anthracite-coloured Manchester, the city from which industrialization had spread across the entire world, displayed the clearly chronic process of its impoverishment and degradation to anyone who cared to see. Even the grandest of the buildings, such as the Royal Exchange, the Refuge Assurance Company, the Grosvenor Picture Palace, and indeed the Piccadilly Plaza, which had been built only a few years before, seemed so empty and abandoned that one might have supposed oneself surrounded by mysterious fa$ades or theatrical backdrops. Everything then would appear utterly unreal to me, on those sombre December days when dusk was already falling at three o'clock, when the starlings, which I had previously imagined to be migratory songbirds, descended upon the city in dark flocks that must have numbered hundreds of thousands, and, shrieking incessantly, settled close together on the ledges and copings of warehouses for the night.

  Little by little my Sunday walks would take me beyond the city centre to districts in the immediate neighbourhood, such as the one-time Jewish quarter around the star-shaped complex of Strangeways prison, behind Victoria Station. This quarter had been a centre for Manchester's large Jewish community until the inter-war years, but those who lived there had moved into the suburbs and the district had meanwhile been demolished by order of the municipality. All I found still standing was one single row of empty houses, the wind blowing through the smashed windows and doors; and, by way of a sign that someone really had once been there, the barely decipherable brass plate of a one-time lawyers' office, bearing names that had a legendary ring to my ear: Glickmann, Grunwald and Gottgetreu. In Ardwick, Brunswick, All Saints, Hulme and Angel Fields too, districts adjoining the centre to the south, whole square kilometres of working-class homes had been pulled down by the authorities, so that, once the demolition rubble had been removed, all that was left to recall the lives of thousands of people was the grid-like layout of the streets. When night fell upon those vast spaces, which I came to think of as the Elysian Fields, fires would begin to flicker here and there and children would

  stand around them or skip about, restless shadowy figures. On that bare terrain, which was like a glacis around the heart of the city, it was in fact always and only children that one encountered. They strayed in small groups, in gangs, or quite alone, as if they had nowhere that they could call home. I remember, for instance, late one November afternoon, when the white mist was already rising from the ground, coming across a little boy at a crossroads in the midst of the Angel Fields wasteland, with a Guy stuffed with old rags on a handcart: the only person out and about in the whole area, wanting a penny for his silent companion.

  It was early the following year, if I remember correctly, that I ventured further out of the city, in a southwesterly direction, beyond St George and Ordsall, along the bank of the canal across which, from my window, I could see the Great Northern Railway Company depot. It was a bright, radiant day, and the water, a gleaming black in its embankment of massive masonry blocks, reflected the white clouds that scudded across the sky. It was so strangely silent that (as I now think I remember) I could hear sighs in the abandoned depots and warehouses, and was frightened to death when a number of seagulls, squawking stridently, all of a sudden flew

  out of the shadow of one of the high buildings, into the light. I passed a long-disused gasworks, a coal depot, a bonemill, and what seemed the unending cast-iron palisade fence of the Ordsall slaughterhouse, a Gothic castle in liver-coloured brick, with parapets, battlements, and numerous turrets and gateways, the sight of which absurdly brought to my mind the name of Haeberlein & Metzger, the Nuremberg Lebkuchen makers; whereupon that name promptly stuck in my head, a bad joke of sorts, and continued to knock about there for the rest of the day. Three quarters of an hour later I reached the port of Manchester, where docks kilometres in length branched off the Ship Canal as it entered the city in a broad arc, forming wide side-arms and surfaces on which one could see nothing had moved for years. The few barges and freighters that lay far apart at the docksides, making an oddly broken impression, put me in mind of some massive shipping disaster. Not far from the locks at the harbour mouth, on a road that ran from the docks to Trafford Park, I came across a sign on which TO THE STUDIOS had been painted in crude brush-strokes. It pointed in to a cobbled yard in the middle of which, on a patch of grass, an almond tree was in blossom. At one time the yard must have been part of a carriage business, since it was enclosed partly by stables and outbuildings and partly by one- or two-storey buildings that had formerly been living quarters and office premises. In one of these seemingly deserted buildings was a studio which, in the months to come, I visited as often as I thought acceptable, to talk to the painter who had been working there since the late Forties, ten hours a day, the seventh day not excepted.

  When one entered the studio it was a good while before one's eyes adjusted to the curious light, and, as one began to see again, it seemed as if everything in that space, which measured perhaps twelve metres by twelve and was impenetrable to the gaze, was slowly but surely moving in upon the middle. The darkness that had gathered in the corners, the puffy tidemarked plaster and the paint that flaked off the walls, the shelves overloaded with books and piles of newspapers, the boxes, work benches and side tables, the wing armchair, the gas cooker, the mattresses, the crammed mountains of papers, crockery and various materials, the paint pots gleaming carmine red, leaf green and lead white in the gloom, the blue flames of the two paraffin heaters: the entire furniture was advancing, millimetre by millimetre, upon the central space where Ferber had set up his easel in the grey light that entered through a high north-facing window layered with the dust of decades. Since he applied the paint thickly, and then repeatedly scratched it off the canvas as his work proceeded, the floor was covered with a largely hardened and encrusted deposit of droppings, mixed with coal dust, several centimetres thick at the centre and thinning out towards the outer edges, in places resembling the flow of lava. This, said Ferber, was the true product of his continuing endeavours and the most palpable proof of his failure. It had always been of the greatest importance to him, Ferber once remarked casually, that nothing should change at his place of work, that everything should remain as it was, as he had arranged it, and that nothing further should be added but the debris generated by painting and the dust that continuously fell and which, as he was coming to realize, he loved more than anything else in the world. He felt closer to dust, he said, than to light, air or water. There was nothing he found so unbearable as a well-dusted house, and he never felt more at home than in places where things remained undisturbed, muted under the grey, velvety sinter left when matter dissolved, little by little, into nothingness. And indeed, when I watched Ferber working on one of his portrait studies over a number of weeks, I often thought that his prime concern was to increase the dust. He drew with vigorous abandon, frequently going through half a dozen of his willow-wood charcoal sticks in the shortest of time; and that process of drawing and shading on the thick, leathery paper, as well as the concomitant business of constantly erasing what he had drawn with a woollen rag already heavy with charcoal, really amounted to nothing but a steady production of dust, which never ceased except at night. Time and again, at the end of a working day, I marvelled to see that Ferber, with the few lines and shadows that had escaped annihilation, had created a portrait of great vividness. And all the more did I marvel when, the following morning, the moment the model had sat down and he had taken a look at him or her, he would erase the portrait yet again, and once more set about excavating the features o
f his model, who by now was distinctly wearied by this manner of working, from a surface already badly damaged by the continual destruction. The facial features and eyes, said Ferber, remained ultimately unknowable for him. He might reject as many as forty variants, or smudge them back into the paper and overdraw new attempts upon them; and if he then decided that the portrait was done, not so much because he was convinced that it was finished as through sheer exhaustion, an onlooker might well feel that it had evolved from a long lineage of grey, ancestral faces, rendered unto ash but still there, as ghostly presences, on the harried paper.

  As a rule, Ferber spent the mornings before he began work, and the evenings after he left the studio, at a transport café near Trafford Park, which bore the vaguely familiar name Wadi Haifa. It probably had no licence of any kind, and was located in the basement of an otherwise unoccupied building that looked as if it might fall down at any moment. During the three years I spent in Manchester, I sought out Ferber at least once a week at that curious hostelry, and was soon as indifferent as he was to the appalling dishes, a hybrid of the English and the African, that were prepared by the Wadi Haifa's cook, with an incomparable stylish apathy, in a set-up behind the counter that resembled a field kitchen. With a single, sweeping, seemingly slow-motion movement of his left hand (his right was always in his trouser pocket) the cook could take two or three eggs from the box, break them into the pan, and dispose of the shells in the bin. Ferber told me that this cook, who was almost two metres tall, had once been a Maasai chieftain. Now close to eighty, he had travelled (said Ferber), by which highways and byways he could not say, from the south of Kenya to the north of England, in the postwar years. There he soon learnt the rudiments of local cooking, and, giving up the nomadic life, had settled in to his present trade. As for the waiters, noticeably more numerous than the customers, who stood or sat around at the Wadi Haifa wearing expressions of the utmost boredom, Ferber assured me that they were without exception the chieftain's sons, the eldest probably somewhat over sixty, the youngest twelve or thirteen. Since they were each as slim and tall as the other, and all displayed the same disdain in their fine, even features, they were scarcely distinguishable, especially as they would take over from each other at irregular intervals, so that the team of waiters currently on duty was continuously changing. Nonetheless, Ferber, who had observed them closely and used the differences in their ages as an aid to identification, was of the opinion that there were neither more nor less than a dozen waiters, all told, whereas I for my part could never manage to picture those not present at any given moment. It is also worth mentioning that I never once saw any women at the Wadi Haifa, neither family or companions of the boss or his sons nor indeed customers, the clientèle being chiefly workmen from the demolition companies then busy throughout Trafford Park, lorry divers, refuse collectors and others who happened to be out and about.

  At every hour of the day and night, the Wadi Haifa was lit by flickering, glaringly bright neon light that permitted not the slightest shadow. When I think back to our meetings in Trafford Park, it is invariably in that unremitting light that I see Ferber, always sitting in the same place in front of a fresco painted by an unknown hand that showed a caravan moving forward from the remotest depths of the picture, across a wavy ridge of dunes, straight towards the beholder. The painter lacked the necessary skill, and the perspective he had chosen was a difficult one, as a result of which both the human figures and the beasts of burden were slightly distorted, so that, if you half shut your eyes, the scene looked like a mirage, quivering in the heat and light. And especially on days when Ferber had been working in charcoal, and the fine powdery dust had given his skin a metallic sheen, he seemed to have just emerged from the desert scene, or to belong in it. He himself once remarked, studying the gleam of graphite on the back of his hands, that in his dreams, both waking and by night, he had already crossed all the earth's deserts of sand and stone. But anyway, he went on, avoiding any further explanation, the darkening of his skin reminded him of an article he had recently read in the paper about silver poisoning, the symptoms of which were not uncommon among professional photographers. According to the article, the British Medical Associations archives contained the description of an extreme case of silver poisoning: in the 1930s there was a photographic lab assistant in Manchester whose body had absorbed so much silver in the course of a lengthy professional life that he had become a kind of photographic plate, which was apparent in the fact (as Ferber solemnly informed me) that the man's face and hands turned blue in strong light, or, as one might say, developed.

  One summer evening in 1966, nine or ten months after my arrival in Manchester, Ferber and I were walking along the Ship Canal embankment, past the suburbs of Eccles, Patricroft and Barton upon Irwell on the other side of the black water, towards the setting sun and the scattered outskirts where occasional views opened up, affording an intimation of the marshes that extended there as late as the mid nineteenth century. The Manchester Ship Canal, Ferber told me, was begun in 1887 and completed in 1894. The work was mainly done by a continuously reinforced army of Irish navvies, who shifted some sixty million cubic metres of earth in that period and built the gigantic locks that would make it possible to raise or lower ocean-going steamers up to 150 metres long by five or six metres. Manchester was then the industrial Jerusalem, said Ferber, its entrepreneurial spirit and progressive vigour the envy of the world, and the completion of the immense canal project had made it the largest inland port on earth. Ships of the Canada & Newfoundland Steamship Company, the China Mutual Line, the Manchester Bombay General Navigation Company, and many other shipping lines, plied the docks near the city centre. The loading and unloading never stopped: wheat, nitre, construction timber, cotton, rubber, jute, train oil, tobacco, tea, coffee, cane sugar, exotic fruits, copper and iron °te, steel, machinery, marble and mahogany - everything,

  in fact, that could possibly be needed, processed or made in a manufacturing metropolis of that order. Manchester's shipping traffic peaked around 1930 and then went into an irreversible decline, till it came to a complete standstill in the late Fifties. Given the motionlessness and deathly silence that lay upon the canal now, it was difficult to imagine, said Ferber, as we gazed back at the city sinking into the twilight, that he himself, in the postwar years, had seen the most enormous freighters on this water. They would slip slowly by, and as they approached the port they passed amidst houses, looming high above the black slate roofs. And in winter, said Ferber, if a ship suddenly appeared out of the mist when one least expected it, passed by soundlessly, and vanished once more in the white air, then for me, every time, it was an utterly incomprehensible spectacle which moved me deeply.

  I no longer remember how Ferber came to tell me the extremely cursory version of his life that he gave me at that time, though I do remember that he was loath to answer the questions I put to him about his story and his early years. It was in the autumn of 1943, at the age of eighteen, that Ferber, then a student of art, first went to Manchester. Within months, in early 1944, he was called up. The only point of note concerning that first brief stay in Manchester, said Ferber, was the fact that he had lodged at 104, Palatine Road - the selfsame house where Ludwig Wittgenstein, then a twenty-year-old engineering student, had lived in 1908. Doubtless any retrospective connection with Wittgenstein was purely illusory, but it meant no less to him on that account, said Ferber. Indeed, he sometimes felt as if he were tightening his ties to those who had gone before; and for that reason, whenever he pictured the young Wittgenstein bent over the design of a variable combustion chamber, or test-flying a kite of his own construction on the Derbyshire moors, he was aware of a sense of brotherhood that reached far back beyond his own lifetime or even the years immediately before it. Continuing with his account, Ferber told me that after basic training at Catterick, in a God-forsaken part of north Yorkshire, he volunteered for a paratroop regiment, hoping that that way he would still see action before the end of the war, which wa
s clearly not far off. Instead, he fell ill with jaundice, and was transferred to the convalescent home in the Palace Hotel at Buxton, and so his hopes were dashed. Ferber was compelled to spend more than six months at the idyllic Derbyshire spa town, recovering his health and consumed with rage, as he observed without explanation. It had been a terribly bad time for him, a time scarcely to be endured, a time he could not bear to say any more about. At all events, in early May 1945, with his discharge papers in

  his pocket, he had walked the roughly forty kilometres to Manchester to resume his art studies there. He could still see, with absolute clarity, his descent from the fringes of the moorlands after his walk amidst the spring sunshine and showers. From a last bluff he had had a bird's eye view of the city spread out before him, the city where he was to live ever after. Contained by hills on three sides, it lay there as if in the heart of a natural amphitheatre. Over the flatland to the west, a curiously shaped cloud extended to the horizon, and the last rays of sunlight were blazing past its edges, and for a while lit up the entire panorama as if by firelight or Bengal flares. Not until this illumination died (said Ferber) did his eye roam, taking in the crammed and interlinked rows of houses, the textile mills and dying works, the gasometers, chemicals plants and factories of every kind, as far as what he took to be the centre of the city, where all seemed one solid mass of utter blackness, bereft of any further distinguishing features. The most impressive thing, of course, said Ferber, were all the chimneys that towered above the plain and the flat maze of