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Sebaldian topography, similarly to his prose, misleads us by creating tangled, complex images – veritable “lines of motion, lines of life”, elements of a phantom psycho-geography mutually superimposed as in a palimpsest. This psycho-geographical context takes us to Paris, the scene of the closing and extremely important fragments of Austerlitz. The text is inseparably connected with a journey on foot (which, as is always the case with Sebald, features a rhizomatic, convoluted character) near the oldest Parisian railway station and within the surrounding 13th arrondissement, and involves walking in circles, a series of seemingly chaotic movements and transferences, and a narration whose meaning comes into being somewhere between the Seine, the New Library, the National Museum of Natural History, and the Pitié-Salpêtrière Hospital… The text is a sui generis photonovel, with the author following Austerlitz all over Paris.
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