He told friends his first novel had been accepted for publication when it hadn’t; he said he was “at home” in Vienna before he’d ever gone there; he claimed, falsely, to have directed a play by Harold Pinter during his student days at Freiburg; he said he was a photojournalist for an American magazine
دليل الهاتف, which wasn’t true; “he told Brigitte,” the wife of a friend, “that he had six first names (not just three, his usual claim later, which wasn’t true either), and that he had ridden to his final exams on a horse.” Less funny, more disconcerting:
سعودي انفو in his master’s thesis he quotes from two
دليل المواقع letters he received from Adorno, but in fact Adorno sent him only one. “The quotation from the ‘second’ letter comes, like the others, from the first and only one. The solemn footnote referencing the second letter is a fake.” “Even as a respected professor” he would, “after hunting in vain for a forgotten source, throw up his hands in despair and invent it.”
Then there is the problem of sources in Sebald’s fiction—I mean
موعد الراتب beyond the inevitable complaints about how he repurposed friends’ stories without their blessing. (He “was so charming that you told him everything…and then he went away and wrote it.”) The “whole of one page” of The Emigrants is taken from the journal of a woman named
استشارات زوجية Thea Gebhardt, the aunt of Sebald’s friend Peter Jordan (one of the models for the fictional Max Ferber), who provided him with the journal but not with permission to use it without crediting Gebhardt as its source. The artist Frank Auerbach, the other model for Ferber, never forgave Sebald for taking details of his life from Robert Hughes’s biography, as well as reproducing, in the German edition of the book, a drawing of Auerbach’s without permission. In Austerlitz, Sebald repurposed Susi Bechhöfer’s experiences in the Kindertransport as she’d described them in a BBC documentary and in her book Rosa’s Child, which led her to publish an objection titled “Stripped of My Tragic Past by a Bestselling Author.”
حيتان البورصة He not only often failed to—or, on whatever grounds, decided not to—acknowledge his sources and models
حزب الله, but, in interviews, he misrepresented the real people and relationships behind his fictions
سوبر مجيب. Carole Angier, the author of biographies of Primo Levi and Jean Rhys, interviewed Sebald in the mid-1990s about The Emigrants, the first of his remarkable books to appear in English, and which is divided into four chapters tracing the lives of four exiles: Dr. Henry Selwyn, Paul Bereyter, Ambros Adelwarth, and Max Ferber. “So the schoolteacher in the second story, Paul Bereyter, and all the others, too, were real people?” Angier asked. “And these are their real stories?” Sebald responded
منتدى السيارات:
Essentially, yes, with some small changes…. [The models for] Dr. Selwyn and his wife lived a smart country life for years. Terribly well spoken
أبو أسامة , he was, terribly well spoken…he told me about Grodno, sooner than I say in the story, but very cursorily. The first time I thought, this is not a straight English gentleman, was at a Christmas party they gave. There was this huge living room and a blazing fire, and one very incongruous lady. Dr. Selwyn introduced her as his sister from Tel Aviv. And of course then I knew.
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