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Walter Benjamin’s Ark

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.

Shelley with Benjamin

*Yet what surprises me most of all at this time is that what I have written consists, as it were, almost entirely of quotations. – Compositions so produced are to poetry what mosaic is to painting. – It is the craziest mosaic technique you can imagine – and the very mind which directs the hands in formation is incapable of accounting to itself for the origin, the gradations, or the media of the process.

Shelley with Benjamin: A critical mosaic is an experiment in comparative reading. Born a century apart, Percy Bysshe Shelley and Walter Benjamin are separated by time, language, temperament and genre – one a Romantic poet known for his revolutionary politics and delicate lyricism, the other a melancholy intellectual who pioneered a dialectical method of thinking in constellations. Yet, as the above montage of citations from their works demonstrates, their ideas are mutually illuminating: the mosaic is but one of several images that both use to describe how literature lives on through practices of citation, translation and critical commentary.

In a series of close readings that are by turns playful, erotic and violent, Mathelinda Nabugodi unveils affinities between two writers whose works are simultaneously interventions in literary history and blueprints for an emancipated future. In addition to offering fresh interpretations of both major and minor writings, she elucidates the personal and ethical stakes of literary criticism. Throughout the book, marginal annotations and interlinear interruptions disrupt the faux-objective and colourblind stance of standard academic prose in an attempt to reckon with the barbarism of our past and its legacy in the present.

The book will appeal to readers of Shelley and Benjamin as well as those with an interest in comparative literature, literary theory, romantic poetics, and creative critical writing.

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