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    Original Essays | January 12, 2015

    Christopher Scotton: IMG Five Hundred Mountains Destroyed for a @*&%$! Allegory!

    I found a hole in the perimeter fence on a Sunday when the haul trucks were idle and I could work my way up the shoulder of mountain undetected.... Continue »
    1. $18.20 Sale Hardcover add to wish list

      The Secret Wisdom of the Earth

      Chris Scotton 9781455551927

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3 Remote Warehouse Poetry- A to Z
9 Remote Warehouse Literary Criticism- General

This title in other editions

After Nature (Modern Library)


After Nature (Modern Library) Cover





Whoever closes the wings

of the altar in the Lindenhardt

parish church and locks up

the carved figures in their casing

on the lefthand panel

will be met by St. George.

Foremost at the picture's edge he stands

above the world by a hand's breadth

and is about to step over the frame's

threshold. Georgius Miles,

man with the iron torso, rounded chest

of ore, red-golden hair and silver

feminine features. The face of the unknown

Grünewald emerges again and again

in his work as a witness

to the snow miracle, a hermit

in the desert, a commiserator

in the Munich Mocking of Christ.

Last of all, in the afternoon light

in the Erlangen library, it shines forth

from a self-portrait, sketched out

in heightened white crayon, later destroyed

by an alien hand's pen and wash,

as that of a painter aged forty

to fifty. Always the same

gentleness, the same burden of grief,

the same irregularity of the eyes, veiled

and sliding sideways down into loneliness.

Grünewald's face reappears, too,

in a Basel painting by Holbein

the Younger of a crowned female saint.

These were strangely disguised

instances of resemblance, wrote Fraenger

whose books were burned by the fascists.

Indeed it seemed as though in such works of art

men had revered each other like brothers, and

often made monuments in each other's

image where their paths had crossed.

Hence too, at the centre of

the Lindenhardt altar's right wing,

that troubled gaze upon the youth

on the other side of the older man

whom, years ago now, on a grey

January morning I myself once

encountered in the railway station

in Bamberg. It is St. Dionysius,

his cut-off head under one arm.

To him, his chosen guardian

who in the midst of life carries

his death with him, Grünewald gives

the appearance of Riemenschneider, whom

twenty years later the Würzburg bishop

condemned to the breaking of his hands

in the torture cell. Long before that time

pain had entered into the pictures.

That is the command, knows the painter

who on the altar aligns himself

with the scant company of the

fourteen auxiliary saints. Each of these,

the blessed Blasius, Achaz and Eustace;

Panthaleon, Aegidius, Cyriax, Christopher and

Erasmus and the truly beautiful

St. Vitus with the cockerel,

each look in different

directions without knowing

why. The three female saints

Barbara, Catherine and Margaret on

the other hand hide at the edge

of the left panel behind the back of

St. George putting together their

uniform oriental heads for

a conspiracy against the men.

The misfortune of saints

is their sex, is the terrible

separation of the sexes which Grünewald

suffered in his own person. The exorcised

devil that Cyriax, not only because

of the narrow confines, holds raised

high as an emblem in

the air is a female being

and, as a grisaille of Grünewald's

in the Frankfurt Städel shows in

the most drastic of fashions, derives from

Diocletian's epileptic daughter,

the misshapen princess Artemia whom

Cyriax, as beside him she kneels on

the ground, holds tightly leashed

with a maniple of his vestments

like a dog. Spreading out

above them is the branch work

of a fig tree with fruit, one of which

is entirely hollowed out by insects.

From the Hardcover edition.

Product Details

Hamburger, Michael
Modern Library
Hamburger, Michael
Sebald, Winfried Georg
Sebald, W. G.
European - German
General Poetry
Literary Criticism : General
Edition Description:
Trade paper
Modern Library Paperbacks
Publication Date:
Grade Level:
7.99x5.15x.42 in. .30 lbs.

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Related Subjects

Fiction and Poetry » Literature » A to Z
Fiction and Poetry » Poetry » A to Z
Humanities » Literary Criticism » General

After Nature (Modern Library) New Trade Paper
0 stars - 0 reviews
$15.00 In Stock
Product details 128 pages Modern Library - English 9780375756580 Reviews:
"Review A Day" by , "The momentum created by the piling of image upon image, of figure upon figure, is so powerful that when one reaches the end of the book — I have experienced this with all of Sebald's books, and others have mentioned it as well — one feels an irresistible compulsion to turn it over and begin again...." (read the entire New Republic review)
"Synopsis" by , Translated for the first time into English by Michael Hamburger, W. G. Sebald's first literary work is a beautiful and cosmically unsettling prose-poem meditation on the ceaseless cycles of destruction and rebirth, natural and man-made, that are our inheritance and our destiny. W. G. Sebald begins with a poem about the life of the German Renaissance painter Matthaeus Grunewald, whose greatest work broke new ground in its depiction of human suffering. He then turns to the German Enlightenment explorer and botanist Georg Steller and his part in a tragic expedition, ordered by Catherine the Great and led by Vitus Bering, to find a sea route from the Russian Far East to North America. Sebald concludes with journeys from his own boyhood through landscapes scarred by human folly. A work of strange and terrible beauty, After Nature confirms W. G. Sebald's stature as one of the most profound and original writers of our time.
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