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Extra resources for [Article] Selective Fertilization in Pollen Mixtures

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Might we not read So as an adverb suggesting “in this way”: in the way rime produces its hueless image, so things become white, like the snow on the Alps? Does So mark a connection and comparison to the radical creation of image that came before (the rime tracing a colorless image of Earth into the field), or does it announce a rupture from it, away from all delineation? If it is a connection, then “L I K E T H E SN OW O N T H E A L PS” 17 what we read tells us that nature’s colorless double of itself produces a white like that we find elsewhere.

20 Perhaps all of Max’s work is like that. Failed portraiture. The past, the person, replaced by the process of its reproduction. The “butterfly man” who is, after all, no one in particular and many in his multiplicity. A gesture toward “the picture of . ” (The Emigrants 174E, 260G), then again and again painted over,21 scratched down, reapplied, finally, yet repeatedly destroyed. 22 W H AT D O ES I T M E A N TO CO U N T ? 27 The scene of production, his “manner of working” (The Emigrants 162E, 239G), is less the canvas than what falls away from it, drawn, it seems, by the same seductive force of gravity against which and in the name of which the Man with the Butterfly Net pops out of the bloody ground.

Still, the section begins with others, centuries earlier, with the long tradition of persecuting Jews in Frankfurt, with the massacres “L I K E T H E SN OW O N T H E A L PS” 11 of two centuries, the yellow rings and gray circles they were forced to wear on their clothing to signal the danger of carnal relations with Christians, long before the incompatibility of Anna’s body with that of Mathys could be sensed. The 1938 book by Zülch on Grünewald, produced in honor of Hitler’s birthday, Sebald writes, bringing us to the twentieth century, could not record such a strange union.

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