Notes

1

“Marginalia on Mahler,” in Theodor W. Adorno, Essays on Music, ed. Richard Leppert (Berkeley, CA: 2002).

2

Roland Barthes, Camera Lucida, trans. Richard Howard (New York: 1981).

3

Deutsches Literaturarchiv, Marbach am Neckar. Sebald once confided to me, in an interview, that about 30 percent of the photographs in The Emigrants had an entirely fictitious relationship to their supposed subjects. Sebald, for instance, wrote the farewell note that Ambros Adelwarth writes to his family, and then took the photograph himself.

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