Narrative Identity and Trauma: Sebald’s Memory Landscape

Narrative identity is said to consist of a few key reference points—places, events, peoples, ceremonies, rites, ideas, and values—that translate into sites of memory that are representative of a person’s or a community’s past. In this essay I explore the role of traumatic memories in the formation of collective identity, the national or transnational sites of memory that are officialized by the state. I argue that collective traumas need to be counterbalanced by personal memories that can diminish their pain and thus enable people to regain their lost sense of being at home. To demonstrate this claim I discuss the twentieth-century traumas that have affected European identity by and through the life stories of W. G. Sebald’s characters in The Emigrants (1992) and Austerlitz (2001), which combines the collective and the personal narrative identity. I conclude that the performative aspect of the past needs to be translated into personal forms of commemoration that surpass the official memory archive, which task requires a comprehensive and sensitive understanding of those traumas at both the individual and collective levels.     

The Green Matzevah

ABSTRACT

This article examines the extent to which historical memory, including the symbolism of Auschwitz-Birkenau, can be considered not only in terms of its close connections to both Polish and Jewish national and political imaginaries, but also in terms of its entanglements with survivors’ memories of nature. I analyse the presence of the post-camp space of Auschwitz-Birkenau in Helena Birenbaum’s poetic testimonies. This is a space that has often been described as tainted and contaminated while being treated as a lifeless “landscape of death” and cemetery. Readings of Birenbaum’s testimonial poetry alongside archival and field research conducted at the Auschwitz-Birkenau Memorial and Museum have enabled me to talk about grey and green camp’s landscape. I have sought to demonstrate that such spaces function in Auschwitz testimonies under the cover of metaphorical constructions and poetic images that I call “the green matzevah,” that contain significant analytical and empirical potential. I explore how the camp’s dead grey zones have over the years turned into green matzevahs, i.e. terrain that has experienced post-traumatic curating by invasion of plants. I argue that drawing attention to the world of nature as represented in testimonies can expand knowledge of the camp, challenging the martyrological framing that prevailed under communism and help to imagine how to preserve a memory of this place when there are no human witnesses.     

Memory Mapping: Affect,Place, and Testimony in El Lugar Más Pequeño (2011)

This article examines the Salvadoran documentary El Lugar Más Pequeño (The Tiniest Place, 2011) and argues that the film gives new insight into the complicated spaces and practices of memory post-transition and post-conflict through a process I call ‘memory mapping,’ which I define as the aesthetic process of representing the affective, polyvocal, layered relationship between past, present, and place as experienced by individuals and the communities in which they live. Engaging primarily with affect and memory theory, I contend that the film maps post-conflict memory in two specific ways: first, through testimony, and second, through an exploration of the relationship between memory and place. Ultimately, I argue that memory mapping sheds new light on how the aftermath of conflict – the physical, but also the emotional ruination caused by violence – is negotiated in the everyday of human life.     

A few words for Axel Vander: John Banville and the pursuit of deconstruction

The revelations about Paul de Man’s activities in Belgium during the Second World War placed him, and by extension deconstruction, on public trial. The affair gave rise to a series of novels, such as Gilbert Adair’s The Death of the Author (1992) or Bernhard Schlink’s Homecoming (2008), that dismiss critical theory as ethically bankrupt charlatanism. John Banville’s Shroud (2002) and Ancient Light (2012) place the enigmatic theorist Axel Vander, a figure resembling de Man, in the dock, but these novels form no decisive judgement about his guilt. The texts reflect on memory, mourning, forgetting and responsibility, and about what writing might consign to the future, questions persistently raised by de Man and Jacques Derrida. As such, they might be said to speak to, or “inhabit”, deconstruction, rather than condemning it. This essay traces how Banville reckons with Axel Vander, and pursues the thought of de Man and Derrida, by means of three words: shroud, ash and cleave. These words at once connote concealment, destruction and separation and also preservation, survival and connection. As the discussion suggests, such words testify to the memory work performed by deconstruction.     

Temporal and Narrative (Dis)junctures: Guillermo Núñez’s Aesthetics of Memory and the Museum of Memory and Human Rights (Santiago,Chile)

Focusing primarily on Guillermo Núñez’s work, this essay juxtaposes two almost-identical exhibits of his ‘exculturas’ (sic: xculptures/ex-cultures) – one at the Chilean-French Cultural Institute in 1975, which resulted in his detention and exile, the other in 2010 for the official inauguration of the Museum of Memory and Human Rights (MM) – to explore their relationships to memory production in Chile four decades after the military coup. In the first, Núñez offered a pointed critique of the repressive post-coup context through a series of caged and netted objects; the second reconstructed the first as a memory gesture, framed within the ultra-modern, state-sponsored MM, in its designated art space, at once included and physically separated from the historical narrative of the Museum. How do the politics, aesthetics and design of the MM work to complement, complicate, or contradict Núñez’s – and, perhaps, any – artistic proposal? What challenges might the aesthetic of memory in Núñez’s work pose to the Museum’s narrative frame? Examining Núñez’s ‘exculturas’ (and, briefly, Gonzalo Díaz’s reconstructed Lonquén) reveals several tensions – around politics of inclusion and exclusion, the state’s role in memorysites, and the relationships between human rights concerns and museological and artistic strategies – marking the social production of memory in Chile today.     

Narrated Desire: Reflections on Flaubert’s Sentimental Education

Flaubert’s Sentimental Education, published in 1869, is a novel about thwarted desires. My essay looks at some pathologies of desire the novel’s protagonist, Frédéric Moreau, may be said to exemplify in order to bring into view the conditions that make desire satisfaction possible. I take the tribulations of the protagonist not as mere consequences of his personal flaws but as significant clues about the mechanics of desire in general. I discuss the ways in which the style and form of the novel mirror the predicament of the desire-driven character, and I conclude by questioning the view that Flaubert’s aestheticism amounts to a banishment of desire.     

La Méditerranée solide: un espace double en construction

There exists a space of the ‘solid Mediterranean’. This concept was first proposed by the Annales’s co-founder Lucien Febvre in 1944–45, during a course on Europe in the longue durée. The flexible borders of this double space, both conceptual and contextual, remain in construction within the on-going and global reality of the solid Mediterranean’s space. The comparative history of European societies promoted during the interwar period by Marc Bloch, the other Annales founder, contributes to the construction of said space. Examining this space allows us to concretely articulate scales of analysis from the local to the global. The article is based on a comparative analysis of two Italian and Spanish cases that appear to be particular and paradigmatic (‘exceptional normal’, Edoardo Grendi) of – respectively – Italy’s so-called ‘southern question’ (questione meridionale) and the Spanish ‘agrarian question’ (cuestión agraria). Thus the article helps to conceptualize the space of the Méditerranée solide, marked by the complex and long-term Southern European question. The article compares Il Ministro della mala vita (The Minister of the Corruption, 1910) by historian Gaetano Salvemini and Del caciquismo trágico (On Tragical Caciquism, 1913) by republican journalist Pedro Torres. Through these ‘exceptionally normal’ case studies, taken together and explained reciprocally, it is possible to better understand the space of the solid Mediterranean. The social realities of the Spanish cuestión agraria and the Italian questione meridionale, as well as the conditions of local historiographical production on such realities are, indeed, a consubstantial part of the European transnational, global space of the ‘solid Mediterranean’.     

Obituary: 1899

Work by historians, geographers and others has examined the role of memory and of commemoration in understanding social meaning and identity. Memory has been shown to be an active constituent of the ways in which meaning is invested in space and place. This paper examines the appeal to memory in Donald MacLeod's Gloomy Memories in the Highlands of Scotland, a text written to understand social and geographical change in the nineteenth‐century Scottish Highlands and, in revised form, to counter the alternative views expressed in Harriet Beecher Stowe's Sunny Memories. In discussing MacLeod's use of memory in Highland history and with reference to examples of memory's use in texts and other representations, the paper contributes to debates on how memory ‘works’ in geography and in history.     

The Origins of European Fascism: Memory of Violence in Michael Haneke’s The White Ribbon

Michael Haneke’s film The White Ribbon (2009) narrates violent attacks that disrupt the cyclical life of a German village in 1913–14. The narrator frames the violence as a study of the origins of fascism: the alleged perpetrators are children, who rebel against the disciplinary powers of patriarchal authority. Coming to maturity during World War I, they will have become the generation of Nazism’s followers. In contrast to psycho-historical readings of The White Ribbon as a cinematic exploration of the causal relationship between the authoritarian formation of the juvenile subject and her susceptibility to fascism’s redemptive illusions, I propose an anti-psychological interpretation of the film. This reading seeks to understand The White Ribbon in terms of Haneke’s aesthetic and formal choices, which underpin his notion of “ethical spectatorship.” I argue that the film offers a dual metaphorical construction of the nexus between memory and the cinematic image, and of the mnemonic and affective aspects of the history of violence. Haneke forges a link between the European attitude to its history of fascism and its ongoing politics of exclusion, arising from its covert fascist desire for the unified self. The significance of The White Ribbon in the ongoing debate on history/memory thus lies in its critique of Europe’s current self-understanding as having outgrown its violent past.     

Space,time and history in the Polish People’s Republic: the trilogy Sami swoi,Nie ma mocnych,Kochaj albo rzuć

Abstract

The article discusses the meanings of popular culture, authenticity and history in People’s Republic of Poland. As an example it uses a popular film trilogy. The trilogy Sami swoi, Nie ma mocnych and Kochaj albo rzu? (‘All friends here’, ‘Take it easy’ and ‘Love or leave me’) was shown in Polish cinemas between 1967 and 1977. The reviews were written just after the premières. The article uses the concepts of time and space elaborated by Mikhail Bakhtin and Doreen Massey to analyze the different chronotopes of the films. It analyses both the films and the reviews as strategies of creating authenticity and creating cultural meanings: the meaning of history and the meanings of rurality. I will show how history and present, memory and society are interwoven in the light of popular production. In addition, I will emphasize the diverse interpretation possibilities resulting from this micro-historical view and the transnational critique of modernism highlighting the small and local which emerged throughout Europe in the 1970s.     

‘Memory is the strength of our resistance’: an ‘other politics’ through embodied and material commemoration in the San José Peace Community,Colombia

Scholars have shown how memory is an embodied and spatial practice that potentially generates more just possible futures, and that peace is a politicized and contextually specific process, but how does place-based memory performance actually contribute to social movements’ construction of peace? This article explores massacre commemoration pilgrimages and stones painted with victims’ names in the Peace Community of San José de Apartadó, a group of small-scale farmers living in the war-torn region of Urabá, Colombia. Based on 15 months of ethnographic research in Colombia from 2011 to 2014, including participant observation and 49 interviews, I explore the relationship between these spatially embodied practices and the community’s resistance to forced displacement and peace-building project. I argue that these forms of memorialization cultivate key elements for an autonomist ‘other politics’, including solidarity with allies; mobilizing bodies across space to defend life and land; and ongoing reflection, education and strategic planning that strengthen community cohesion and organization. Integrating scholarship on memory performance, peace geographies, and social movements, I illustrate how the San José de Apartadó Peace Community’s massacre commemorations and stones reject vindictive violence and instead build an alternative, transformative and emancipatory politics through internal and external solidarity.     

Chopsticks,phone bells and farms: Fuyuko Taira's diasporic spatial practice

In this article, I revisit my earlier project on local poetry practices by Japanese ‘war brides’ from the Second World War and explore a creative, transnational home-making activity by focusing on one of my informants, Fuyuko Taira's senryu poetry. Drawing on theories of global space and diasporic home-making practices, I suggest that her engagement in senryu involves a transnational spatial practice through the use of familiar everyday language. While the experience of displacement among Taira and other so-called ‘war brides’ cannot be understood without a consideration of socio-historical and economic constraints that characterized their emigration, my aim here is not to analyse how Taira's senryu simply reflects her diasporic victimhood but to explore how she exercises her creative agency to make her new home familiar and habitable by engaging with the everyday poetry practice of alternation between ‘pause’ and ‘move’ in the midst of changing landscapes. I argue that to a member of the Japanese diaspora like Taira senryu can be thought of as a different mode of experiencing at once the local and the global in an organic way.     

Tom's Tambu House: Spacing,Status and Sacredness in South Malakula,Vanuatu

This paper is based on video footage I filmed in South Malakula in April 1996. It explores the case of Tom Moses, a man who claims to speak with God. He has constructed a house on the outskirts of Milip village which he has declared tambu, or taboo/sacred. Around it he envisions a new living space, following directions given to him from God. I argue that Tom's enterprise can be understood in terms of a spacing—status—sacredness nexus. This nexus is grounded in a pre-Christian Malakulan sociality revolving around men's houses, ancestral worship and grade-taking rituals. This takes place with a lived Christianity which in many contexts is expressed as a departure from kastom. As such, I argue that this ‘spatial’ analysis can help us understand dimensions of local human relationships which purely discursive analyses sometimes eclipse.     

The challenge of the spaceship: Arthur C. Clarke and the history of the future, 1930–1970

Arthur C. Clarke’s 1946 essay on ‘The Challenge of the Spaceship’ was one of the founding manifestoes of the Space Age, and helped to establish him as the West’s leading techno-prophet. Restating his ideas in subsequent factual and fictional works, Clarke successfully propagated the belief that man’s destiny lay in space and that the process was already underway. On the surface Clarke’s oeuvre offers a classic astrofuturist model of progress as technology-driven, but on closer examination it also incorporates a more pessimistic, historically based strand of philosophy, British rather than American. This essay traces the genesis of Clarke’s early work and the influence upon him of the historian Arnold J. Toynbee and the moral philosophers Olaf Stapledon and C.S. Lewis. Toynbee was essentially a Christian pessimist who believed that western civilization was on the way out; his long historical perspectives were an important source of inspiration for Clarke, leading him to a cyclical rather than a simply progressive model of history which contemplated both the beginning and the end of civilizations. The concerns of Stapledon and Lewis with grand narratives of decline and redemption were also influences on Clarke. All this needs to be understood in relation to both the European experience of World War I and to the coming of the atomic bomb, the latter a profound influence on Clarke’s generation. Such perspectives gave European astroculture a more modulated vision of the human future in space than the technologically based astrofuturism which dominated in the USA.     

The map drawings of Aegidius Tschudi (1505–1572)

‘On a visit to Leningrad some years ago I consulted a map to find out where I was, but I could not make it out. From where I stood, I could see several enormous churches, yet there was no trace of them on my map. When finally an interpreter came to help me, he said: “We don't show churches on our maps.” Contradicting him, I pointed to one that was very clearly marked. “That is a museum,” he said, “not what we call a ‘living church.’ It is only ‘living churches’ we don't show.”

It then occurred to me that this was not the first time I had been given a map which failed to show many things I could see right in front of my eyes. All through school and university I had been given maps of life and knowledge on which there was hardly a trace of many of the things that I most cared about and that seemed to me to be of the greatest possible importance to the conduct of my life. I remembered that for many years my perplexity had been complete; and no interpreter had come along to help me. It remained complete until I ceased to suspect the sanity of my perceptions and began, instead, to suspect the soundness of the maps.’

E. F. Schumacher, ‘On philosophical maps,’ A guide for the perplexed (New York, 1977).     

La prudencia de Cortés: teoría política y práctica retórica en la Historia de la conquista de México de Antonio de Solís

The Historia de la conquista de México, published by Antonio de Solís in 1684, and later extensively reissued and translated, has been praised for the ‘elegance’ and ‘sweetness’ of its style. From very early on these qualities made the Historia to be read as a prose model worthy of imitation. Different scholars have studied Solís's sources and the way he manipulated them on the one hand, and, on the other, the extent of the reliability of his account. However, very little has been said about the actual writing practices of the Historia in the context of contemporary historiographical theories, or the author's own ideas about history or politics. This paper analyzes how some of these rhetorical techniques (I particularly focus on the use of oratio figurata, sententia, and epiphoneme) gave shape to Solís's political ideas, in particular the concept of prudence.     

Food,conviviality and the work of mourning. The asado scandal at Argentina’s ex-ESMA

This article addresses a controversial debate raised by an asado-party, which was celebrated by the end of 2012 at the former Navy Mechanics School (ESMA), the main clandestine detention centre where almost 5,000 people were held captive and tortured during Argentina’s last dictatorship (1976-1983). In 2004, the former school was transformed into a “space of memory”. Drawing upon the asado episode, I consider which kind of practices of re-occupation former landscapes of death may allow.

I first provide an overview of the interventions that took place at ESMA within the Kirchnerist period (2003-2015). Second, I bring into play some cultural productions of the new generations, as well as performances and philosophical ruminations regarding the asado as a main theme in the local culture. Finally, I put these materials in the larger context of memory politics to explore how food-reunions – and expanded tables might work as a public pathway for a collective digestion of grief. The question that is ultimately at stake is how to kindle alternative hospitalities and dialogues in landscapes marked by loss. Might the spectrum of activities that took place at the former ESMA during the Kirchnerist years suggest a new conviviality for the aftermath of violence?     

‘It was entirely his fault’: constructing white masculinities and the Haga Man assaults in Umeå, Sweden 1998–2006

Several cases of single repeat offenders in urban space have raised public concern in Sweden during recent decades. Few studies have been conducted on the consequences of the ‘hostage situations’ that emerge when one individual offender causes fear and affects a large group of people in a specific place. The concern of this article is to examine consequences of the Haga Man phenomenon: the case of a serial rapist operating between 1998 and 2006 in Umeå, a medium-sized Swedish city. The article focuses on the construction of white masculinities among male respondents in Umeå during the time of the attacks. I examine how men positioned themselves in relation to the public image of the offender as a ‘normal Swede’ and how they related to women's increasing fear of violence in urban space. Three prominent constructions of masculinity emerged from the research data: the dangerous stranger, the suspect and the protector. These three constructions of masculinity were not clear-cut and did not ‘belong’ to specific men – several of the interviewees articulated various forms of masculinities but stressed them in different ways depending on, for instance, age and/or ethnicity/race. I conclude that men largely positioned themselves as protectors as a strategy to distance themselves from the perpetrator (the image of the ‘normal Swedish man’ performing the rapes) and to ensure that they would not be perceived as suspects. However, men largely perceived that women's increased fear of crime was ‘one man's fault’ and broader issues about gendered power relations in space were not raised.     

The psychodynamics of nationalism

To be attached to the subdivision, to love the little platoon we belong to in society, is the first principle (the germ as it were) of public affections. It is the first link in the series by which we proceed toward a love to our country and to mankind. Edmund Burke, Reflections on the Revolution in France (1790) Nothing said or done can reach My fanatic heart. Out of Ireland have we come. Great hatred, little room, Maimed us at the start. I carry from my mother's womb A fanatic heart. W.B. Yeats, ‘Remorse for Intemperate Speech’ (1932)     

For the love of cuddly toys

ABSTRACT

This essay reflects upon a particular moment at the end of Chris Philo’s Children’s Geographies lecture [see Philo 2016. “‘Childhood is Measured Out by Sounds and Sights and Smells, Before the Dark Hour of Reason Grows’: Children’s Geographies at 12.” Children’s Geographies 14 (6): 623–640. doi:10.1080/14733285.2016.1187896], when discussion turned to cuddly toys. I recall a particular mood constituted in and by this moment: of apparent bashfulness, hesitancy, things-left-unsaid, and disinclination to discuss cuddly toys within the formal space of an academic conference. I suggest that this incident might be understood as indicative of three sets of silences which, still, characterise a great deal of work within the fantastically vibrant sub-disciplines of Children’s Geographies and Cultural Geographies. This argument is accompanied by photographic portraits of three particular toys: Angus, Arnold and the B.B.D. I hope that the presence of these portraits helps bring to the surface something of the often-silenced geographies – of memories, affects, intimacies and vulnerabilities, of play, fun and care, and of material and popular cultures – upon which my argument is focused.