LIT024050 Archives

In July 1940, amidst fear of Nazi invasion, HMT Dunera left England. On board were a few British soldiers guarding over 2000 interned male Enemy Aliens, mostly Germans. Some of the internees were passionate Nazis, but most were Jewish refugees. Among them was Stefan Raphael Benjamin, the estranged child of the German-Jewish intellectual, Walter Benjamin.

Cue Walter Benjamin’s Ark which re-reads the life and work of Walter Benjamin via the curious life of his only child. The focal point is Stefan’s dramatic voyage from England to Australia in 1940, a voyage rich in intellectual suggestion, shared as it was with obscure men with famous names such as Wittgenstein, Kafka, Marx and Wilde. Central to the book is the one substantive text that can be ascribed to Stefan: Benjamin’s meticulous transcription of Stefan’s utterances as an infant. This fascinating text has been largely overlooked, despite the insistence of Benjamin’s biographers that ‘it continued to play a role in Walter Benjamin’s writing until the end of his life’. This book thus seeks not only to bring into view the intriguing figure that is Stefan but also to identify him as that most crucial of Benjaminian spectres, namely, the secret ‘you’ or addressee of Benjamin’s writings.

Reading Robert Walser concentrates on the letters sent by the author Robert Walser to Frieda Mermet, the laundry manager at a Swiss psychiatric hospital where his sister worked as a teacher. Their exchange continued from 1913 to 1942, covering the time when Walser’s literary fortunes declined, after which he himself was placed in an asylum for almost three decades before his death in 1956.

This epistolary history provides a reflection on the question of correspondence and literature, particularly the subject of lost correspondence, gender, the question of address and the performance of identity. Simon Wortham frames the letters with an extensive critical biography about the life and writing of Robert Walser, whose work has enjoyed a resurgence in recent years. As her side of the exchange no longer survives, the book concludes with a fictional reimagining of Mermet’s response to Walser’s letters. This creative part is carefully introduced by chapters on epistolary writing in a range of critical settings from modernism to literary theory and deconstruction, as well as exploring what is at stake in creative engagements with a literary legacy of this kind.