This book investigates the crucial question of 'restitution' in the work of W. G. Sebald. Written by leading scholars from a range of disciplines, with a foreword by his English translator Anthea Bell, the essays collected in this volume place Sebald's oeuvre within the broader context of European culture in order to better understand his engagement with the ethics of aesthetics. Whilst opening up his work to a range of under-explored areas including dissident surrealism, Anglo-Irish relations, contemporary performance practices and the writings of H. G. Adler, the volume notably returns to the original German texts. The recurring themes identified in the essays - from Sebald's carefully calibrated syntax to his self-consciousness about 'genre', from his interest in liminal spaces to his literal and metaphorical preoccupation with blindness and vision - all suggest that the 'attempt at restitution' constitutes the very essence of Sebald's understanding of literature. -- .

The "Makura no Soshi," or "The Pillow Book" as it is generally known in English, is a collection of personal reflections and anecdotes about life in the Japanese royal court composed around the turn of the eleventh century by a woman known as Sei Shonagon. Its opening section, which begins "haru wa akebono," or "spring, dawn," is arguably the single most famous passage in Japanese literature.
Throughout its long life, "The Pillow Book" has been translated countless times. It has captured the European imagination with its lyrical style, compelling images and the striking personal voice of its author. "Worlding Sei Shonagon" guides the reader through the remarkable translation history of "The Pillow Book" in the West, gathering almost fifty translations of the "spring, dawn" passage, which span one-hundred-and-thirtyfive years and sixteen languages. Many of the translations are made readily available for the first time in this study. The versions collected in "Worlding Sei Shonagon" are an enlightening example of the many ways in which translations can differ from their source text, undermining the idea of translation as the straightforward transfer of meaning from one language to another, one culture to another.

Published fifty years ago under the title Harpoon of the Hunter, Markoosie Patsauq's novel helped establish the genre of Indigenous fiction in Canada. This new English translation unfolds the story of Kamik, a young hero who comes to manhood while on a perilous hunt for a wounded polar bear. In this astonishing tale of a people struggling for survival in a brutal environment, Patsauq describes a life in the Canadian Arctic as one that is reliant on cooperation and vigilance. In collaboration with the author, Valerie Henitiuk and Marc-Antoine Mahieu return to the original Inuktitut text to provide English readers with a more accurate translation. With a preface by Patsauq and an afterword from the translators, this edition offers a fresh and contextualized interpretation of a cultural milestone. Whether revisiting this classic or discovering it for the first time, readers will find in Hunter with Harpoon a sophisticated coming-of-age tale illustrating a way of life not as it appeared to southerners, but as it has survived in the memory of the Inuit themselves.

This book investigates the crucial question of 'restitution' in the work of W. G. Sebald. Written by leading scholars from a range of disciplines, with a foreword by his English translator Anthea Bell, the essays collected in this volume place Sebald's oeuvre within the broader context of European culture in order to better understand his engagement with the ethics of aesthetics. Whilst opening up his work to a range of under-explored areas including dissident surrealism, Anglo-Irish relations, contemporary performance practices and the writings of H. G. Adler, the volume notably returns to the original German texts. The recurring themes identified in the essays - from Sebald's carefully calibrated syntax to his self-consciousness about 'genre', from his interest in liminal spaces to his literal and metaphorical preoccupation with blindness and vision - all suggest that the 'attempt at restitution' constitutes the very essence of Sebald's understanding of literature. -- .

Fifty years ago, Markoosie Patsauq, then a bush pilot in his late twenties living in the tiny, isolated High Arctic community of Resolute, spent his spare time quietly writing a story that effectively emerged as the first Indigenous novel released in Canada. Published in English under the title Harpoon of the Hunter in 1970 by McGill-Queen's University Press, that version of the story was Patsauq's own adaptation. In the years that followed the widely acclaimed English edition was translated into many different languages, but what has remained obscured until the present day is the Inuktitut text originally produced by the author. In collaboration with Patsauq, Valerie Henitiuk and Marc-Antoine Mahieu have foregrounded the original Inuktitut text to inform their translations into both English and French. This critical edition, complete with the story in both Inuktitut syllabics and Latin script, utilizes the author's handwritten manuscript as well as interviews with Patsauq to produce a new, rigorous examination of this literary and cultural milestone. This work also includes the first comprehensive account of the critical response to his writing while underscoring the way the much-altered English adaptation from 1970 shaped that response. A momentous achievement that situates a new classic in the twenty-first century, Hunter with Harpoon brings readers back to the roots of Markoosie Patsauq's Inuit story to experience it as it was originally written.