Paul Celan: Selections
The best introduction to the work of Paul Celan, this anthology offers a broad collection of his writing in unsurpassed English translations along with a wealth of commentaries by major writers and philosophers. The present selection is based on Celan's own 1968 selected poems, though enlarged to include both earlier and later poems, as well as two prose works, The Meridian, Celan's core statement on poetics, and the narrative Conversation in the Mountains. This volume also includes letters to Celan's wife, the artist Gisèle Celan-Lestrange; to his friend Erich Einhorn; and to René Char and Jean-Paul Sartre—all appearing here for the first time in English.
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abyss almond Andre du Bouchet Andrea Zanzotto Atemwende Auschwitz bears witness Biichner's Black milk Bonnefoy breath Breathturn Bukovina cousin Czernowitz Danton's Death Death Fugue E. M. Cioran empty encounter Eric Celan France Frankfurt am Main French German language Gisele Celan-Lestrange golden hair Margareta Green Integer Hamacher hand hear heart Jerome Rothenberg Ladies and gentlemen later Lenz letter Lightduress listen Long live looking Lucile Medusa's head memory Meridian mother mouth murdered muteness Nazi Niemand Niemandsrose Nonancourt Paris Paul Celan perhaps Pierre Joris poem poet poetics poetry Polysemy question remain Rene Char reprinted by permission Romanian Rosmarie Waldrop SECTION TRANSLATED series Schwarzmaut shadow Shoah silence someone Soviet speaks stands stone Stretto Suhrkamp Verlag survivor talk thing Threadsuns tion TRANSLATED BY PIERRE voice walked wants Werner Hamacher word write written
Page 47 - Deutschland he calls scrape that fiddle more darkly then hover like smoke in the air then scoop out a grave in the clouds where it's roomy to lie Black milk of morning we drink you at night we drink you at noontime Death is a gang-boss aus Deutschland we drink you at dusktime and dawntime we drink and drink Death is a gang-boss aus Deutschland his eye is blue he hits you with leaden bullets his aim is true there's a man in this house your golden hair Margareta he sets his dogs on our trail he gives...
Page 46 - ... you men you other men play up again for the dance Black milk of morning we drink you at night we drink you at noontime and dawntime we drink you at dusktime we drink and drink there's a man in this house your golden hair Margareta your ashen hair Shulamite he cultivates snakes He calls play...
Page 31 - ... musicality' in such a way that it has nothing in common with the 'euphony' which more or less blithely continued to sound alongside the greatest horrors.
Page 47 - ... Margareta he writes it and walks from the house and the stars all start flashing he whistles his dogs to draw near whistles his Jews to appear starts us scooping a grave out of sand he commands us play up for the dance Black milk of morning we drink you at night we drink you at dawntime and noontime we drink you at dusktime we drink and drink There's a man in this house who cultivates snakes and who writes who writes when it's nightfall nach Deutschland your golden hair Margareta your ashen hair...
Page 47 - ... cultivates snakes and who writes who writes when it's nightfall nach Deutschland your golden hair Margareta he writes it and walks from the house and the stars all start flashing he whistles his dogs to draw near whistles his Jews to appear starts us scooping a grave out of sand he commands us play up for the dance Black milk of morning we drink you at night we drink you at dawntime and noontime we drink you at dusktime we drink and drink There's a man in this house who cultivates snakes and...
Page 31 - This language, notwithstanding its inalienable complexity of expression, is concerned with precision. It does not transfigure or render 'poetical'; it names, it posits, it tries to measure the area of the given and the possible. True, this is never the working of language itself, language as such, but always of an...