W.G. Sebald’s final novel Austerlitz is often framed as a work of “postmemorial” Holocaust fiction. While trauma theory has generated valuable insights about the novel, its emphasis on witnessing (or failing to bear witness) tends to elide other important aspects of the text, most notably the careful attention Austerlitz brings to bear on physical things, spaces, and structures. This essay draws on recent work in object-oriented philosophy to suggest a new theoretical framework for reading Sebald’s last novel. Taking Austerlitz’s meticulous descriptions of the physical world as my starting point, I trace how the text cultivates what Jane Bennett calls a “vital materialism,” or a theory of matter that attends to the vitality of nonhuman objects. Instead of reading ‘through’ these descriptions for what goes unrepresented (“the main scenes of horror,” in Sebald’s phrase), I examine how the novel’s attention to physical surfaces troubles the distinction between material things and immaterial processes like subjectivity, memory, and affective response. Viewed in this light, I suggest that we might understand Sebald’s ‘surface readings’ not as a failure to get beyond the surface to the depths, but as part of an alternative archival practice—one that facilitates, in turn, different modes of ethical engagement. / text

The Dynamic Unity of Writing (DUW) offers an object oriented theory of writing, based on the idea of a dynamic unit, which is the simultaneous manifestation of distinct thought processes acting as one. This thesis demonstrates how writing, while grounded in consciousness, fulfills the four characteristics of a dynamic unit: that in its unity of action, writing is a basic level structure; that writing is more than the sum of its parts; that it is observable only in a context of operation; and, that writing exhibits a pattern of correlation across elements. This theory blends the four elements of the DUW (self, technology, style, and process) as an approach to understanding the roles of exigence and emergence in textual coherence and in both a writer’s and writing’s development. As a self-reflective tool, the DUW offers a framework through which writers can self-identify areas of intervention where further development of an element or elements of writing can result in an improvement of writing skills.