W.G. Sebald’s borrowed truths and barefaced lies

W.G. Sebald is the modern master of the uncanny — or perhaps that should be ‘was’, as he died in a car crash near Norwich in 2001 at the age of 57. Deciding which tense to use depends on whether you mean ‘W.G. Sebald’ as a shorthand for his body of work, which outlives him, or to refer to the man who wrote it, known to his acquaintances as Max. The question poses its own Sebaldian conundrum, reflecting his strange crepuscular writings with their meditations on the dead and the living, past and present, culture and identity. His ghost lives on in the flickering half-light, the most enigmatic, perhaps, of his characters.

Born in the Bavarian Alps in 1944, Sebald belonged to the generation of Germans whose inordinate moral task was to absorb the Nazi guilt of their parents, a guilt so submerged by shame that it was never mentioned as he was growing up, though it subsequently became the leitmotif of his work.