By Milo Monzetta

The magical foundation of recent chemistry has regularly been shrouded in mystery texts down during the centuries. Now published during this distinct publication of historical alchemical info. together with the philosopher's stone and the transmutation of base metals into gold. realize a number of the some ways the 'unseen" global impacts us day-by-day and the way to take advantage of the impression of the solar and moon to augment your strength.

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339, my emphases). Following the already established connection to St. Sebolt, this reference (to “Seybolf’) acts to confirm a nominal form identity for the still explicitly unnamed narrator. It also exposes how the narrator constructs that connection and with it, however tentatively, a subjective presence in the text. Thus through these two references, the narrator establishes points of identity through name (Seybolt/Sebald), through place (Bavaria as the site common to both namesakes), through textual source (both instances of the namesake are cited from distinctly and orthographically older texts), and finally even figuratively through the imagery that emerges through this “Keeper of the Silkworms and 39 R ep ro d u ced with p erm ission o f th e copyright ow ner.

47 R ep ro d u ced with p erm ission o f th e copyright ow ner. Further reproduction prohibited w ithout perm ission. his mother in the context of her presence at the bombing of Nurnberg. She, however, the narrator relates in the present tense to those past events, “weifi aber heut nicht mehr” (73). The implication is that the narrator’s task is now to return to and describe that historical moment that is both no longer present for his mother, and that is inseparable from the omission redressed in section one of the poem.

The force of memory, identity, and visual symbolism (through color and through Griinewald’s medium) is here, as I argue it is virtually throughout Sebald’s texts, all at once refracted through name. Another example of this dense nexus of memory, identity and name occurs later in the Max Aurach segment. As a result of having read Luisa’s diaries, the narrator Sebald himself, in an interview, acknowledged that in “the process o f translation . . ” See W riters in Conversation with Christopher Bigsby, vol 2.

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