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by Austerlitz (or occasionally only by the narrator) and whose appearance – and often disappearance – is described in metaphors based explicitly on photographic processes and technologies. Just as Sebald is interested in ‘the non-static, ontological moments of photography’ (Patt 2007: 72), so too he focuses on the experience of moments at which memories both become and recede.2 Most prominent among the places where these momentary images are revealed are the book’s four major railway stations. It is in Sebald’s metaphoric darkrooms, dark zones of transition between

in A literature of restitution

exhume this hidden rationale of colonial governance: Secunderabad, we are told, is a railway hub and a garrison town, and key episodes take place in or around railway stations. Ghosh’s work suggests that tragically the legacy of colonial governmentality continues in the rationale of the post-colonial state. It is therefore no coincidence that his critique of colonial and post-colonial governmentality focuses on elusive identities, or moments when identity becomes a problem for the state. The narrator of In an Antique Land discovers that his identity is suspect in the

in Amitav Ghosh
Trembling rocks in sensation fiction and empire Gothic

Railways (1851), and at one of his early novels, Basil (1852). Like the folklore collections by Robert Hunt and William Bottrell, discussed in the previous chapter , these texts illustrate Collins’s interest in Cornwall as both part of England but also a remote and distinctive, even somewhat foreign region, with its ‘primitive’ people and sublime rock formations, along with its mines and other

in Rocks of nation
Diana Cullell

chance encounters quickly gain significance. At the end of the composition, which can be read as a soliloquy, life is presented as on a par with a railway station, powerfully characterising the moment – and the poem itself – as just a link in a chain, a transient moment or a sort of work in progress (an idea underlined also in the title of the book, an errata sheet) and under constant revision. The poem 156 Cullell_ContempPoetry_02_Poems.indd 156 28/04/2014 17:24 perfectly exemplifies the realism and intimate tone favoured by part of the most recent poetry of Spain

in Spanish contemporary poetry
Savage vibrations in ghost stories and D. H. Lawrence’s Kangaroo

eardrum and awake sympathetic resonance in the house. After seeing the picture-like view from the railway carriage, the two travellers arrive at the station and make their way by road to the house, where sound begins to take on its important role, as they hear ‘the eternal voice of the Cornish coast; the endlessly recurring thud and surge of the waves against the cliffs of Trevarthen’. 24 At night the sound of

in Rocks of nation

Maddin’s My Winnipeg (2007) – to mention but a few landmark titles. Thus it is no coincidence that the last sequence of Neil Burger’s film, which does not correspond to anything in the original literary material, takes place in a railway station. Chief Inspector Uhl, who suspects he has been tricked by Eisenheim, stands on a platform as the train, in which the Illusionist is

in Monstrous media/spectral subjects
Abstract only

account of their honeymoon trip in Europe, in the course of which the couple visited the English branch of the Norr family (whose spelling of the name was ‘Noar’). Jacob’s oldest brother, Joseph, had emigrated to England in 1886, and worked as a tailor in Manchester. Israel, Eli, Dora and Maurice – mentioned in Henry’s diary – were four of Joseph’s seven children. Maurice Noar was my ­maternal grandfather. He came to England as an infant, and would have been about twenty-four when he met his American cousin at the railway station in 1909. It was Henry’s son, David Norr

in Writing otherwise
Abstract only

short, the yet unfinished and unopened Railway was in progress; and, from the very core of all this dire disorder, trailed smoothly away, upon its mighty course of civilisation and improvement’ ( Dickens, 1982 : 120-1). The ironic juxtaposition of the calmer, more factual paragraph describing the arrival of the railway system in Camden Town offers little sense of comfort in the

in Limits of horror

speaker connected in some way with the sub-continent, enabling us to deduce that the poem may describe the experience of a father who is an emigrant to Britain from the Indian sub-continent. At the third stage of the process we look for patterns and breaks in patterning. The most obvious pattern is the way the three lines of each stanza suggest a shape which resembles the platforms of Barry.indb 84 9/6/2013 8:43:40 AM Close and distant reading  85 a railway station, as seen in a bird’s eye view from above, with the separated words on the right seeming to be in the

in Reading poetry

Heights lay next door, amid wooded grounds. Other neighbours were wealthy merchants and civil servants who commuted into the City from the nearby railway stations. Upper Norwood seems a most Dresser.indb 49 49 03/10/2017 12:48:50 Henry Dresser and Victorian ornithology 3.1  The Firs, South Norwood Hill, photographed by Arthur Dresser. unusual move for a bankrupt and his family: it was an expensive place to live and most of Henry senior’s assets would have been required to pay his debts. Henry Dresser and his brothers may have clubbed together to provide for the

in Henry Dresser and Victorian ornithology