Adrian Del Caro - The Early Poetry of Paul Celan: In the Beginning Was the Word
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The Early Poetry of Paul Celan: In the Beginning Was the Word
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The Early Poetry of Paul Celan : In the Beginning Was the Word
author
:
Del Caro, Adrian.
publisher
:
Louisiana State University Press
isbn10 | asin
:
0807122092
print isbn13
:
9780807122099
ebook isbn13
:
9780585280806
language
:
English
subject
Celan, Paul--Criticism and interpretation.
publication date
:
1997
lcc
:
PT2605.E4Z596 1997eb
ddc
:
831/.914
subject
:
Celan, Paul--Criticism and interpretation.
Page iii
The Early Poetry of Paul Celan
In the Beginning Was the Word
Adrian Del Caro
Page iv
Copyright 1997 by Louisiana State University Press All rights reserved Manufactured in the United States of America First printing 06 05 04 03 02 01 00 99 98 97 5 4 3 2 1
Designer: Michele Myatt Quinn Typeface: Adobe Garamond Typesetter: Impressions Book and Journal Services, Inc. Printer and binder; Thomson-Shore, Inc.
Paul Celan's Mohn und Gedchtnis and Von Schwelle zu Schwelle are quoted with permission of Deutsche Verlags-Anstalt GmbH, Stuttgart.
Library of Congress Cataloging-in-Publication Data Del Caro, Adrian, 1952 The early poetry of Paul Celan : in the beginning was the word / Adrian Del Caro. p. cm. "This is a detailed treatment of the early volumes Mohn und Gedchtnis (Poppy and memory, 1952) and Von Schwelle zu Schwelle (From threshold to threshold, 1955)"Pref. Includes bibliographical references and index. ISBN 0-8071-2209-2 (cloth : alk. paper) 1. Celan, PaulCriticism and interpretation. I. Title. PT2605.E4Z596 1997 831'.914DC21 97-16227 CIP
The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources.
Page v
For Wolfgang F. Taraba, who knows a thing or two about poetry
Page vii
Contents
Preface
ix
Introduction
1
1 Memory in the Proximity of Death
25
2 Words at the Threshold of Pain
47
3 The Desperate Nature of Dialogue
65
4 Time, Speech, and the Poet's Work
87
5 Traces of Ways and a Way Out
113
6 Silence at the Border of Existence
136
7 U-topia, Placelessness, Displacement
161
8 Transubstantiation and the Creaturely Hunger
177
9 A Meridian Home
192
Epilogue
205
Bibliography
219
Index of Poem Titles
223
General Index
226
Page ix
Preface
This book is a detailed treatment of the early volumes Mohn und Gedchtnis (Poppy and Memory, 1952) and Von Schwelle zu Schwelle (From Threshold to Threshold, 1955). These works earned Celan his critical acclaim and are seen by many critics to form the basis of his early work. My treatment is based on detailed philological and philosophical readings of most of the poems contained in these volumes, and my approach has been to orient myself according to the poetological issues raised by Celan in his poetry and in his major writings on poetry. All translations from the German of Paul Celan and others is my own; in rendering the poems or parts thereof, I generally strive for semantic clarity and not for "polished" translations that attempt to reproduce the precise structures or meters of the poemsfor this kind of translating, one should consult the many translations listed in the bibliography (Hamburger, Neugroschel, Washburn, Rothenberg, Middleton, and Joris). Citations of the poems occur in parentheses and are from Paul Celan: Gesammelte Werke in fnf Bnden (Suhrkamp edition, 1986), which will have to serve until the critical edition is completed. Each poem is cited by volume and page of this edition, along with an English title in parentheses, on the first mention; thereafter the poem is referred to by its German title. The Index of Poem Titles and the General Index ensure that a particular poem may be located under either German or English. My thanks to Jerry Glenn and Bianca Rosenthal for helpful comments and suggestions.
Page 1
Introduction
A controversy arose in the early 1950s when Theodor Adorno, probably responding to Paul Celan's poem "Todesfuge" (Death Fugue, published in 1948 and 1952) issued the potentially axiomatic dictum that it is barbaric to write a poem after Auschwitz. Cultural criticism, he maintained, found itself facing the last stage of a dialectic between culture and barbarism; it had become impossible to write poetry in the present day, and to do so eroded the knowledge of why matters had developed thus.1 Throughout the ensuing decades Celan's poetry would be haunted by views and approaches informed by Adorno's compelling statement, and no less haunted by the poet's own experience of the Holocaust, to which he lost both parents.
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