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Almost every day a beautiful woman wearing a ball gown made of grey parachute silk and a broad-brimmed hat trimmed with grey roses visits me. Hardly have I sat down in my armchair, tired from work, but I hear her steps outside on the pavement. She sweeps in at the gate, past the almond tree, and there she is, on the threshold of my workshop. Hastily she comes over to me, like a doctor afraid that she may be too late to save a sinking patient. She takes off her hat and her hair tumbles about her shoulders, she strips off her fencing gloves and tosses them onto this little table, and she bends down towards me. I close my eyes in a swoon – and how it goes on after that point, I do not know. One thing is certain: we never say a word. The scene is always a silent one. I think the grey lady understands only her mother tongue, German, which I have not once spoken since I parted from my parents at Oberwiesenfeld airport in Munich in 1939, and which survives in me as no more than an echo, a muted and incomprehensible murmur. It may possibly have something to do with this loss of language, this oblivion, Ferber went on, that my memories reach no further back than my ninth or eighth year, and that I recall little of the Munich years after 1933 other than processions, marches and parades.
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W.G. Sebald (The Emigrants)