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“... having been the object of your attentions. It’s like nailing the proverbial jelly to the wall. Susan Sontag talks about him slipping through the net of comparisons. It’s perhaps not beside the point to recall that when a very young man, Walser wanted to be an actor, and while that ambition may have been squelched in the course of a typically humiliating ...”

“... In the era​ of the cosmopolitan languages of power, like Arabic or Latin, it might have seemed obvious that someone would choose to write in a second language. It only became something to be thought about, to be argued over and interpreted, in the era when vernaculars became nationalist instruments, and a writer was bound to their first language not just pragmatically but politically ...”

“... In the fourth section of The Emigrants, W.G. Sebald (or rather, his narrative alter ego) travels back to Germany from Norwich to look into the childhood of Max Ferber, an artist based loosely on Frank Auerbach. At 15 Ferber had been sent to England by his parents, who were eventually murdered in the camps at Riga. Sebald finds the silence of the people he encounters weird and unsettling: ‘I felt increasingly that the mental impoverishment and lack of memory that marked the Germans, and the efficiency with which they had cleaned everything up, were beginning to affect my head and my nerves ...”