By Iris Owens
Harriet is leaving her boyfriend Claude, “the French rat.” That a minimum of is how Harriet sees issues, whether it’s Claude who has simply requested Harriet to go away his Greenwich Village house. good, a method or one other she has no purpose of leaving. on the contrary, she is going to remain and distinctive revenge—or may have if Claude had no longer had her unceremoniously evicted. nonetheless, even though moved out, Harriet isn't really approximately to maneuver on. no longer by any means. Girlfriends circle round to patronize and propose, yet Harriet in simple terms takes offense, and it’s effortless to appreciate why. simply because mad and maddening as she should be, Harriet sees prior the well mannered platitudes that everybody else is content material to spout and reside by means of. She is an unblinkered, unbuttoned, unrelenting, and exceptionally bitingly humorous prophetess of all that's fallacious with women’s lives and hearts—until, in a shock twist, she unearths a savior in a depressing room on the Chelsea lodge.
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Extra resources for After Claude
Torsten Hoffmann (Frankfurt am Main: Fischer, 2011). In addition to Bigsby cited above, see The Emergence of Memory: Conversations with W. Sebald, ed. Lynne Sharon Schwartz (New York; London; Melbourne; Toronto: Seven Stories Press, 2007). Schwartz’s collection has also appeared in French translation as L’Archéologue de la mémoire: Conversations avec W. Sebald, ed. Lynne Sharon Schwartz, trans. Patrick Charbonneau and Delphine Chartier (Arles: Actes Sud, 2009). See also, Torsten Hoffmann, “Das Interview als Kunstwerk.
What is fact and what is fiction? What is real and what is invented? The reader is engaged simultaneously on multiple levels, reflecting on the above questions while experiencing the text through the senses (visually and haptically) and actively imagining what is read. Moreover, the specific questions of genre, text/image, fact/ fiction that are elicited by Sebald’s works can in turn be connected to broader questions fundamental to the study of literature: What is genre and how do we define it?
See in particular Jo Catling, “W. Sebald: ein ‘England-Deutscher’? Identität – Topographie – Intertextualität,” 25– 53 and Ruth Vogel-Klein, “Französische Intertexte in W. Sebalds Austerlitz,” 73–92. Further articles include Michaela Holdenried, “Zeugen – Spuren – Erinnerung. Zum intertextuellen Resonanzraum von Grenzerfahrungen in der Literatur jüdischer Überlebender. Jean Améry und W. Sebald,” Autobiographisches Schreiben in der deutschsprachigen Gegenwartsliteratur 2. Grenzen der Fiktionalität und der Erinnerung, eds.
After Claude by Iris Owens