A Life Spent Searching – the Travels and Writing of Annemarie Schwarzenbach

It’s mainly the reason why every October I write about all the books I’ve read in the last year, that some remain in my thoughts. Isabel Cole’s translation of Annamarie Schwarzenbach’s All Roads are Open is one of these, as well as having the kind of attention to typography, layout, and design that … well, makes me less likely to spill a late-night snack in bed over.

Which is to say, it’s already near the top of everything I’ve read in the last six months. I also read Ella Maillart’s The Cruel Way and Vita Sackville-West’s Twelve Days in Persia as a result, and Annamarie makes them both read like spoilt upper-class nobs whose only talent is the distinct whiff of colonial racism – I kept thinking if I was traveling with them I’d be obliged to leave them stranded and be off with their car and money because that’s all they’re good for. Perhaps being hooked on heroin gave Annamarie an empathy absent in these others; it did wonders for William Burroughs also. At very least, her translation into english adds a great deal to 20th century Central Asia writing.

25 April, 2012
20:00
Dialogue Books
Schönleinstraße 31
Berlin, Germany

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Journalist, novelist, antifascist, archaeologist, world traveler, the Swiss writer Annemarie Schwarzenbach (1908-1942) became a European cult figure following her rediscovery in the 1990s. At long last, her works are also appearing in English via Seagull Books.

To celebrate, join Dialogue Books as we host Alexis Schwarzenbach, the writer’s grandnephew and the leading expert on her life and work. He and Annemarie Schwarzenbach’s translators Lucy Renner Jones and Isabel Fargo Cole will also read from a selection of her works suggesting the breadth of her concerns and creativity. Lyric Novella is the tale of a young “man’s” love for a nightclub singer in decadent Weimar-era Berlin, while Death in Persia is a more open exploration of lesbian love and existential anguish against the background of 1930’s Teheran, and All the Roads Are Open is an account of Schwarzenbach’s epic journey in a Ford from Switzerland to Afghanistan on the eve of World War II.

ABOUT

Annemarie Schwarzenbach, born in 1908 to one of Switzerland’s most prominent families, published her first novel at the age of 23. Her friends Klaus and Erika Mann introduced her to artistic circles, and she scandalized her conservative family by living an openly lesbian lifestyle and supporting leftwing political causes. From 1933 to 1941 she took numerous trips in Europe, the USSR, the United States, the Near East and Africa as a photojournalist covering social and political issues, while also publishing novels and short fiction. After the outbreak of World War II she sought ways to take political action, helping the Manns’ anti-Fascist efforts, but increasingly succumbed to depression and drug addiction.

Annemarie Schwarzenbach died in 1942 in Switzerland following a bicycle accident.

Reading: Susan Mann – Precious Records: Women in China’s Long Eighteenth Century

Shortly before departing for Brussels, I finished Susan Mann’s brilliant The Talented Women of the Zhang Family, and began Gail Hershatter’s equally sublime The Gender of Memory: Rural Women and China’s Collective Past, which I’m still slowly chewing through. Both these books mark something of a specific beginning or new direction in my reading, one which has been obvious before now, but with these two authors and some recent others either read or waiting to be read, I think it is worth noting.

My reading has drifted eastwards from Central Asia and Afghanistan (at least until Poetry of the Taliban is published) to arrive once more in China, and a China I am embarrassed to say I have neglected. It is easy to read on a subject such as these and follow the grand narratives – politics, culture … the longue durée, and yes, these matters are intriguing, essential to an initial general understanding, and can even consume one’s entire inquiry for years. It is also easy to unintentionally fail to consider nuances in these, to partially or wholly miss entire facets due to the relative unimportance they are afforded, or to only perceive them in a particular context, an aside to the central theme.

I am careful to say also, that these absences do not, by their being brought to the fore, constitute a ‘truth’ in opposition to the other, they do not substantiate themselves as the ‘real’ story. Merely, they provide another way of regarding things. Equally though, they should not be reduced solely to this regard; they are not symbols, representations or stand-ins for a singular agenda. They exist in and for themselves, without which any understanding can only ever be said to be partial and conditional.

That my reading is lately drifting from Central Asia and those western borders of China is in part because there is scant new to be said, when what is being said is either traditional generalist or filtered through the narrow gaze of America’s incoherent imperialism, both of which fail comprehensively on the subject of women. (And framing women as variously marginalised or emancipated in a dialectic centred upon the Taliban, pre- post- or during, is not equivalent to a proper attention given to the subject.) I would certainly read anything from the region of the likes of Susan Mann or Gail Hershatter, but with the exceptions of a couple of monographs have so far been experiencing disappointment.

So then, I arrive at Precious Records: Women in China’s Long Eighteenth Century. Perhaps to say, Susan Mann shows unequivocally that no account of the Qing Dynasty can be said to have genuine worth, or be a work of serious scholarship without giving equal weight to women and their place in this history, and by obvious extension, this applies to all fields of study. That she is a beautiful, subtle, poetic and sensitive writer with a serious and diligent intellectual approach of course means I’m having a thrill to be reading her once more.

Reading: (2nd time) Susan Mann — The Talented Women of the Zhang Family

In early 2008, before I moved to Berlin, I had a book-buying spree, and a couple of those books I didn’t finish before it was time to pack them all into boxes and off to storage, where they would remain for the next three years. I’m about to embark on one of the bigger, more serious books on my list, Gail Hershatter’s The Gender of Memory — Rural Women and China’s Collective Past, and noticed on the back cover Susan Mann provided a quote. Her The Talented Women of the Zhang Family was one of the unfinished ones I had to choose between taking on the plane or boxing up. At the time I found it a demanding read, and so it remained behind while I flew.

I’m not really sure why I decided to read it, thought I’m pretty sure it was a post by Nicole Barnes at The China Beat that was responsible, and feeling a little daunted by Gail Hershatter’s monograph, as well as somehow feeling drawn to this unfinished one, have instead spent the last few days immersed in one of the most beautiful scholarly works I’ve ever read.

Coincidentally, some of the names that appear in Julia Lovell’s The Opium War recur here, though from the opposite side; through the lens of late-Qing Dynasty literati and scholar-civil servants.

What draws me to this book now, and to much on my upcoming reading list, is the centrality of women in the historical narrative. I notice this near-total absence especially in Central Asian and Afghanistan scholarship, as well as in a significant proportion of Chinese writing — the history, culture, art of these regions as commonly presented is in fact the men’s history, and for no good reason.

Perhaps to say, in praise of this work and the author, that I have already put her other works on my reading list, and it is very unlikely I will not be writing about The Talented Women of the Zhang Family again. Also that it has unexpectedly rekindled my love of Chinese history and culture, and her passion for the subject has reminded me of this which I’d forgotten.

something wicked this way comes

Yesterday, an arrival.

Three years, eight months ago, I took a photo. I wrote also,

“I have this strange compulsion that has overtaken me. I bought a ticket to Berlin and decided to live there, see what the dance is, see what the life might be like. Will it suit me? Will I feel something like home? Will I be able to stay?”

Those boxes. I saw their contents briefly early 2008, unpacking, repacking, again in Adelaide a month or so later for some weeks, not even bothering to really unpack. Before that, it was late 2004 that they were last in my company. Six years. What I paid to keep that all in storage likely is far in excess of what it’s all worth. Still …

Slightly battered after all that, but …

… still in Berlin.

“Reading: … ” Book of the Year (Non-Fiction): Jonathan Safran Foer – Eating Animals