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2015 National Translation Award Winner in Poetry
Paul Celan, one of the greatest German-language poets of the twentieth century, created an oeuvre that stands as testimony to the horrors of his times and as an attempt to chart a topography for a new, uncontaminated language and world. Breathturn into Timestead: The Collected Later Poetry gathers the five final volumes of his life's work in a bilingual edition, translated and with commentary by the award-winning poet and translator Pierre Joris.
This collection displays a mature writer at the height of his talents, following what Celan himself called the "turn" (Wende) of his work away from the lush, surreal metaphors of his earlier verse. Given "the sinister events in its memory," Celan believed that the language of poetry had to become "more sober, more factual . . . ‘grayer.'" Abandoning the more sumptuous music of the first books, he pared down his compositions to increase the accuracy of the language that now "does not transfigure or render ‘poetical'; it names, it posits, it tries to measure the area of the given and the possible." In his need for an inhabitable post-Holocaust world, Celan saw that "reality is not simply there; it must be searched for and won."
Breathturn into Timestead reveals a poet undergoing a profound artistic reinvention. The work is that of a witness and a visionary.
- Sales Rank: #446751 in Books
- Published on: 2014-12-02
- Released on: 2014-12-02
- Original language: German
- Number of items: 1
- Dimensions: 9.26" h x 2.36" w x 6.42" l, 1.00 pounds
- Binding: Hardcover
- 736 pages
Review
“I will make the outrageous assertion that Paul Celan reinvented poetry―or invented a new kind of poetry―or took poetry to a place where it had never been before. By definition, such work cannot be translated. Then along comes Pierre Joris, and by some mysterious process of linguistic alchemy, he has managed to translate hundreds of examples of this work, or at least to produce versions that embody the strangeness and power of the originals―and the grand adventure of Celan's late poems lives on in English.” ―Paul Auster
“More than a monumental work of scholarship, Pierre Joris’s 40-year project in translation of the later poetry of one of the twentieth century’s most original and “untranslatable” poets is an extraordinary work of poetry in contemporary English. With seeming ease, Joris conveys the complexity and inventiveness of the original German without oversimplifying or domesticating its difficulty, its dark beauty, or the depth of its ideas. His commentary is also of great value in illuminating the background, sources and meanings of Celan’s singular voice." ―Judges' citation, 2015 National Translation Award in Poetry
“*Starred Review* Hard to forget and harder to interpret, the dense and astonishing poems of Paul Celan (1920-1970) stand near the center of postwar European letters, and of Jewish writing after the Holocaust. This first appearance in English of the complete late volumes arrives thanks to a poet well suited to the task. Joris, a celebrated and prolific Luxembourger-American writer, has been translating Celan since 1967 and here finds beautiful--or terrifying--correlates for Celan's wrenched and recombinant speech. Celan, raised amid many languages, spoke German at home. The Nazis killed his parents and held the poet in a labor camp until the end of the war. Celan settled in Paris, but wrote his poems in German. The later poems--six books, three of them posthumous--comprise new compounds, alienated images, hauntingly crystallized phrases that sound like nobody's native tongue: critics find in them responses to the Holocaust, an "excavated heart," a civilization beyond repair. To read Joris's Celan is to see not only the insights and the horrors, but also intimacy, sexual jealousy, irony, even humor and hope. The exemplary en face edition also presents all the German; Joris provides a careful introduction and ample, learned notes.” ―Publishers Weekly
“Paul Celan was a celebrated translator and a poet recognized as one of the twentieth century's greatest writers in German, alongside Rainer Maria Rilke. Celan's work is defined by his experiences during WWII, including segregation into a Romanian ghetto, the deportation and death of his parents, and imprisonment in a Nazi labor camp. While Celan's early work is characterized by lyrically complex and emotionally intense verse, the tone and tenor of his poetry shifted dramatically as he moved away from the immediacy of wartime memories and began to write out of an urgency to reinvent his mother tongue through enigmatic lines and German neologisms. Nearly every page of this comprehensive bilingual edition includes wild, bewildering jewels: 'Down melancholy's rapids / past the blank woundmirror: There the forty / stripped lifetrees are rafted,' and 'the bloodsugar-pea, x-rayable / by fingernails, / rotates.' Such odd, disorienting turns make for page after page of challenging poetry, and master translator Joris's extensive introduction and commentary provide vital context for readers less familiar with Celan's linguistic audacity. A priceless compendium.” ―Diego Báez, Booklist
“No twentieth-century poet pierces the heart of language with such an exquisite blade as Paul Celan. With Pierre Joris's stunning translations of Celans' late work, along with his exemplary commentaries, it is as if we are reading Celan for the last time, once again.” ―Charles Bernstein
“Paul Celan and Pierre Joris work, in this splendid and complex rendering, wonderfully together. Without simplifying, aiming at anything elegantly ‘poetic,' or condensing Celan's anxiously layered otherness, Joris has gotten right to its grayness, what Celan calls ‘the darkness of the poem today . . . a language fragment . . . freighted with world.'” ―Mary Ann Caws
About the Author
Paul Celan was born in Czernowitz, Bukovina, in 1920, and is widely considered to be one of the most innovative poets of the twentieth century. A German-speaking Jew, he was sent to a forced labor camp during World War II. Celan settled in Paris in 1948, where he lived and wrote until his suicide in 1970.
Pierre Joris has written, edited, and translated more than fifty books, including poetry, essays, translations, and anthologies. Most recently he published Barzakh: Poems 2000-2012, Meditations on the Stations of Mansur al-Hallaj, and the fourth volume of the anthology Poems for the Millennium: The University of California Book of North African Literature. In 2005 he received the PEN Award for Poetry in Translation for his translation of Celan's Lichtzwang / Lightduress.
Most helpful customer reviews
1 of 1 people found the following review helpful.
The Difficulty is the Reward
By Althea
At this writing there are only 6 reviews of this amazing book, and 3 of them are complaints about the binding and the paper. Please don’t be deterred by qualms about the book’s presentation and durability. I’ve spent the last month immersed in these pages—book-marking, referencing, writing notes in the margins, lugging the 2.5 lb. marvel around with me, splaying it out on occasion—and it has held up just fine. While it’s not a deluxe edition, neither is it prohibitively expensive. The paper is of average thickness—not notably thin—and was probably chosen because, at 650 pages, heavier stock would have made the volume size unwieldy. This book is extraordinary—both Celan’s poetry and Joris’s illumination of it—and to disregard that while complaining about the paper is absurd.
Pierre Joris has spent the last 40 years in devoted “apprenticeship” to Celan’s work, and his lengthy introduction and 170 pages of commentary do
much to open these final cryptic books to broader understanding. Many people admire Celan in theory but find his later poetry too difficult—here Joris has provided great help, both on a scholarly level and with an impassioned and intuitive feeling for the work. He does a fine job of explication without dulling any of the masterful ambiguity that allows these poems to be experienced in different ways at different times. His painstaking translations honor the originals without deadening them. The poems are still “difficult” –in part because they are so emotionally charged and soul-wrenching—but they don’t refuse a thoughtful reader. References to concrete events, people, objects, and landscapes are generally there, locked into the complex of each word-puzzle, if there is an effort to find them. Joris has provided innumerable and invaluable keys.
Celan’s “difficulty” is not an intentional obscuration of fact or emotion, nor is it a game. One feels, at every step of the way, a sense of profound and often anguished struggle underlying whatever spare truth finally reached the page. He wrestled to express (and honor) his losses and horrors without giving way to false sentiment, numbness, dislocation, reactivity, glorification. The marvel of his work is that he accomplished just that, repeatedly, and with an alchemical infusion of elegance and power.
In his Bremen Prize speech, Celan said: “Only one thing remained reachable, close and secure amid all the losses: language. Yes, language. In spite of everything it remained secure against loss. But it had to go through its own lack of answers, through terrifying silences, though the thousand darknesses of murderous speech. It went though. It gave me no words for what was happening but went through it. Went through and would resurface, enriched by it all.”
The language that resurfaced bears witness to, and illuminates, the dark mysteries of Celan’s perilous journey. There is nothing else like it. This book is not for those who are seeking lyrical flights or rhymes. But the difficulties one might encounter in reading it might also turn out to be the rewards.
12 of 14 people found the following review helpful.
I'M REVIEWING THE BOOK ITSELF
By Allen Horne
I apologize in advance since this isn't a review of Celan. I couldn't review his work, I'm not smart enough. But I love it. I am writing to complain about the book itself. It has a cheap binding and the paper isn't rich like the kind New Directions uses when they publish poetry. What a disappointment. Indeed, why buy hardcovers if the publishers refuse to give readers a beautiful product. What with e-books you'd think they'd do what Hollywood did when television reared it's antennae, namely, create Cinemascope, 3D, in the case of books, cloth bindings and rich paper like they did up until the late sixties. I mean, simply charge an extra couple of bucks to cover costs. I have an edition of Ginsberg in hardcover, a recent collection, and already the pages are pulling away from the binding and the paper is dingy brown.
This current book does one thing right though. Like Celan's poetry it feels lighter than air.
17 of 23 people found the following review helpful.
and his admirers deserved better.
By M. Walsh
The poetry stands on its own as a thing of brilliance. I am writing in regard to the shoddy quality of the book: cheap paper, generic font, and a poorly glued spine. Poetry collections by Hill, Neruda, Yeats, and many more, pulled from my shelf, for comparison show a much greater attention to detail. FSG showed little care in the execution of this volume. The book's construction is identical to any other over-sized, mass-produced hardback. Celan, and his admirers deserved better.
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