By Paul Celan, Pierre Joris
Paul Celan, one of many maximum German-language poets of the 20th century, created an oeuvre that stands as testimony to the horrors of his occasions and as an try and chart a topography for a brand new, uncontaminated language and global. Breathturn into Timestead: The accrued Later Poetry gathers the 5 ultimate volumes of his life’s paintings in a bilingual version, translated and with observation by way of the award-winning poet and translator Pierre Joris.
This assortment screens a mature author on the top of his skills, following what Celan himself known as the “turn” (Wende) of his paintings clear of the plush, surreal metaphors of his prior verse. Given “the sinister occasions in its memory,” Celan believed that the language of poetry needed to develop into “more sober, extra genuine . . . ‘grayer.’” leaving behind the extra luxurious track of the 1st books, he pared down his compositions to extend the accuracy of the language that now “does now not transfigure or render ‘poetical’; it names, it posits, it attempts to degree the realm of the given and the possible.” In his desire for an inhabitable post-Holocaust international, Celan observed that "reality isn't easily there; it has to be sought for and won."
Breathturn into Timestead unearths a poet present process a profound inventive reinvention. The paintings is that of a witness and a visionary.
"I will make the outrageous statement that Paul Celan reinvented poetry—or invented a brand new form of poetry—or took poetry to a spot the place it had by no means been earlier than. by means of definition, such paintings can't be translated. Then alongside comes Pierre Joris, and through a few mysterious technique of linguistic alchemy, he has controlled to translate 1000s of examples of this paintings, or a minimum of to supply models that embrace the strangeness and tool of the originals—and the grand event of Celan’s overdue poems lives on in English." —Paul Auster
*Starred assessment* "Hard to put out of your mind and tougher to interpret, the dense and stunning poems of Paul Celan (1920–1970) stand close to the heart of postwar ecu letters, and of Jewish writing after the Holocaust. this primary visual appeal in English of the total overdue volumes arrives due to a poet compatible to the duty. Joris, a celebrated and prolific Luxembourger-American author, has been translating Celan seeing that 1967 and the following unearths beautiful—or terrifying—correlates for Celan’s wrenched and recombinant speech. Celan, raised amid many languages, spoke German at domestic. The Nazis killed his mom and dad and held the poet in a exertions camp until eventually the top of the battle. Celan settled in Paris, yet wrote his poems in German. The later poems—six books, 3 of them posthumous—comprise new compounds, alienated photographs, hauntingly crystallized words that sound like nobody’s local tongue: critics locate in them responses to the Holocaust, an "excavated heart," a civilization past fix. To learn Joris’s Celan is to determine not just the insights and the horrors, but in addition intimacy, sexual jealousy, irony, even humor and desire. The exemplary en face variation additionally provides all of the German; Joris offers a cautious creation and considerable, discovered notes." —Publishers Weekly
"Paul Celan was once a celebrated translator and a poet well-known as one of many 20th century’s maximum writers in German, along Rainer Maria Rilke. Celan’s paintings is outlined via his reviews in the course of WWII, together with segregation right into a Romanian ghetto, the deportation and loss of life of his mom and dad, and imprisonment in a Nazi exertions camp. whereas Celan’s early paintings is characterised through lyrically advanced and emotionally excessive verse, the tone and tenor of his poetry shifted dramatically as he moved clear of the immediacy of wartime stories and commenced to put in writing out of an urgency to reinvent his mom tongue via enigmatic traces and German neologisms. approximately each web page of this entire bilingual variation contains wild, bewildering jewels: ‘Down melancholy’s rapids / earlier the clean woundmirror: There the 40 / stripped lifetrees are rafted,’ and ‘the bloodsugar-pea, x-rayable / by way of fingernails, / rotates.’ Such unusual, disorienting turns make for web page after web page of difficult poetry, and grasp translator Joris’s wide advent and remark offer important context for readers much less accustomed to Celan’s linguistic audacity. A necessary compendium." —Diego Báez, Booklist
"No twentieth-century poet pierces the guts of language with such a ravishing blade as Paul Celan. With Pierre Joris's lovely translations of Celans' past due paintings, with his exemplary commentaries, it really is as though we're analyzing Celan for the final time, as soon as again." —Charles Bernstein
"Paul Celan and Pierre Joris paintings, during this fantastic and complicated rendering, splendidly jointly. with out simplifying, aiming at whatever elegantly ‘poetic,’ or condensing Celan’s anxiously layered otherness, Joris has gotten correct to its grayness, what Celan calls ‘the darkness of the poem this day . . . a language fragment . . . freighted with world.’" —Mary Ann Caws
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Extra resources for Breathturn into Timestead: The Collected Later Poetry (A Bilingual Edition)
The Favor of Crows is a collection of my original haiku scenes, new, selected, and revised from seven of my haiku books published in the past fifty years. My very first book of haiku was a collection of fifty-six scenes, fourteen in each of four seasons, privately printed in a limited edition at the Minnesota State Reformatory in Saint Cloud. 44 Note s 1. “Haiku Scenes,” the introduction, has been revised and expanded from a shorter version of an essay published as “Haiku Traces” in Native Liberty: Natural Reason and Cultural Survivance by Gerald Vizenor (University of Nebraska Press, 2009), 257–76.
7. Kobayashi Issa, The Year of My Life (Berkeley: University of California Press, 1960), 103, 104. Oraga Haru, translated by Nobuyuki Yuasa. 8. Stephen Addiss, The Art of Haiku (Boston: Shambhala, 2012), 260. 9. R. H. Blyth, Haiku, Volume IV, Autumn-Winter ( Japan: Hokuseido, 1952), 230. Blyth wrote, “The poet or someone else has been playing the harp and at last leaves it on the tatami. Standing on the verandah, he gazes out at the rain which has fallen all day. It grows [ xxxiii ] darker and darker.
40. Gerald Vizenor, Seventeen Chirps (Minneapolis: Nodin Press, 1964, 1968). 41. Gerald Vizenor, Jerome Downes, Slight Abrasions: A Dialogue in Haiku (Minneapolis: Nodin Press, 1966). 42. Gerald Vizenor, Empty Swings (Minneapolis: Nodin Press, 1967). 43. Gerald Vizenor, Matsushima: Pine Islands (Minneapolis: Nodin Press, 1984). 44. Gerald Vizenor, Cranes Arise (Minneapolis: Nodin Press, 1999).