Category Archives: robert walser

W.G. Sebald’s A Place in the Country to be Published . . . Eventually

I guess me and Terry from the blog Vertigo have some odd mind-meld currently working, since we both discovered on Sunday that Random House will be publishing W.G. Sebald's essay collection A Place in the Country at some point in the future.

The proof is on the copyright page of Robert Walser's novel The Tanners, recently published by New Directions, which includes a 37-page essay on Walser by Sebald. Said essay is from said collection, and is duly noted on the copyright page. Amazon doesn't list the collection online, which likely means that it won't be available for at least 6 months.

While I'm mentioning The Tanners, I might as well say that I found it to be an odd, highly compelling read. I'm not quite sure what to make of it at the moment, but there are so many standout stories and images in the book that you'd be hard-pressed not to be strongly affected by it.

I Am Not Here To Write

Robert-walser In the bio that comes with the press release for the new Robert Walser novel, The Tanners, I'm informed that Walser "stopped writing in 1933 when he was hospitalized for mental illness, declaring, 'I am not here to write, but to be mad.'"

Clearly, Walser was a one-thing-at-a-time kind of guy.

But anyway, read Robert Walser, who drew such adherents as Kafka, Hesse, Walter Benjamin, and Sebald. What more needs be said?

Oh, I know: The Tanners comes with a 37-page introduction by Sebald, with photos.

Also see our review of Robert Walser's The Assistant.


The Surrender is Veronica Scott Esposito’s “collection of facts” concerning how she embraced her true gender.


Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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