I år är det hundra år sedan poeten Paul Celan (1920–1970) föddes. "Det sena verket" består av Celans fem sista diktsamlingar och en extra svit – tidigare har inga av hans samlingar förutom Andningsvändning (1967), den som inleder "Det sena verket", översatts i sin helhet. 50–60 år efter deras tillkomst ter sig dessa dikter kanske mer angelägna än någonsin. Inte nödvändigtvis för att vi nu kan blicka tillbaka på dem på avstånd, utan för att vi börjar hinna ifatt dem. I översättning av Anders Olsson med redaktörskap av Gabriel Itkes-Sznap samt med kommentarer av dem båda.

Memory Rose into Threshold Speech gathers the poet Paul Celan's first four books, written between 1952 and 1963, which established his reputation as a major post-World War II German-language poet.Celan, a Bukovinian Jew who lived through the Holocaust, created work that displays both great lyric power and an uncanny ability to pinpoint totalitarian cultural and political tendencies. His quest, however, is not only reflective: there is in Celan's writing a profound need and desire to create a new, inhabitable world and a new language for it. In Memory Rose into Threshold Speech, Celan’s reader witnesses his poetry, which starts lush with surrealistic imagery, become gradually pared down; its syntax tightens and his trademark neologisms and word formations increase toward a polysemic language of great accuracy that tries, in the poet's own words, "to measure the area of the given and the possible."Translated by the prize-winning poet and translator Pierre Joris, this bilingual edition follows the 2014 publication of Breathturn into Timestead, Celan's collected later poetry. All nine volumes of Celan's poetry are now available in Joris's carefully crafted translations, accompanied here by a new introduction, as well as extensive commentary by Joris and Barbara Wiedemann. The four volumes in this edition show the flowering of one of the major literary figures of the last century.This volume collects Celan’s first four books: Mohn und Gedächtnis (Poppy and Memory), Von Schwelle zu Schwelle (Threshold to Threshold), Sprachgitter (Speechgrille), and Die Niemandsrose (NoOnesRose).

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.

Ce répertoire recense près de 500 ouvrages, soit environ un dixième de la bibliothèque de Paul Celan aujourd’hui conservée au Deutsches Literaturarchiv à Marbach am Neckar. Il inventorie des livres, des extraits et des gloses écrits en six langues, l’allemand, le français, le grec ancien, l’anglais, le latin et le russe et enregistre toutes les annotations de la main de Celan. Organisé en six chapitres suivant le plan classique de l’histoire de la philosophie, ce répertoire retrace dans toute sa complexité le parcours intellectuel du poète, des présocratiques à Heidegger, Husserl, Bloch, Adorno et Derrida, en passant par Montaigne, Pascal, Leibniz, Hegel et Nietzsche, mais aussi Chestov et Lao Tseu. Frappante est la cohérence de ses lectures. Les textes qu’il relève, questionne, corrige, récrit à coups de marques préférentielles constituent son anthologie de la philosophie. Cela nourrissait le projet de composer un « livre des amis » à l’instar du Buch der Freunde de Hugo von Hofmannsthal. Le présent volume réalise d’une certaine manière son vœu d’établir un recueil d’extraits ad se ipsum et peut être lu comme le premier chapitre de son journal d’écrivain. On y découvre, on y reconnaît ses préoccupations, l’objet de ses spéculations poétiques, de ses idées à la rencontre et à l’encontre de son temps : la Shoah, l’antisémitisme et les violences protéiformes de l’Histoire, le nihilisme, la résistance de l’humain, le dialogisme de la parole, la mélancolie... Mais c’est avant tout un document singulier sur les rapports entre philosophie et poésie, dont Paul Celan bouleverse les représentations habituelles et bouge les frontières. Préface de Jean-Pierre Lefebvre Édition de Patrick Alac, Bertrand Badiou et Alexandra Richte

I år är det hundra år sedan poeten Paul Celan (1920–1970) föddes. "Det sena verket" består av Celans fem sista diktsamlingar och en extra svit – tidigare har inga av hans samlingar förutom Andningsvändning (1967), den som inleder "Det sena verket", översatts i sin helhet. 50–60 år efter deras tillkomst ter sig dessa dikter kanske mer angelägna än någonsin. Inte nödvändigtvis för att vi nu kan blicka tillbaka på dem på avstånd, utan för att vi börjar hinna ifatt dem. I översättning av Anders Olsson med redaktörskap av Gabriel Itkes-Sznap samt med kommentarer av dem båda.

Memory Rose into Threshold Speech gathers the poet Paul Celan's first four books, written between 1952 and 1963, which established his reputation as a major post-World War II German-language poet.Celan, a Bukovinian Jew who lived through the Holocaust, created work that displays both great lyric power and an uncanny ability to pinpoint totalitarian cultural and political tendencies. His quest, however, is not only reflective: there is in Celan's writing a profound need and desire to create a new, inhabitable world and a new language for it. In Memory Rose into Threshold Speech, Celan’s reader witnesses his poetry, which starts lush with surrealistic imagery, become gradually pared down; its syntax tightens and his trademark neologisms and word formations increase toward a polysemic language of great accuracy that tries, in the poet's own words, "to measure the area of the given and the possible."Translated by the prize-winning poet and translator Pierre Joris, this bilingual edition follows the 2014 publication of Breathturn into Timestead, Celan's collected later poetry. All nine volumes of Celan's poetry are now available in Joris's carefully crafted translations, accompanied here by a new introduction, as well as extensive commentary by Joris and Barbara Wiedemann. The four volumes in this edition show the flowering of one of the major literary figures of the last century.This volume collects Celan’s first four books: Mohn und Gedächtnis (Poppy and Memory), Von Schwelle zu Schwelle (Threshold to Threshold), Sprachgitter (Speechgrille), and Die Niemandsrose (NoOnesRose).

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.

Ce répertoire recense près de 500 ouvrages, soit environ un dixième de la bibliothèque de Paul Celan aujourd’hui conservée au Deutsches Literaturarchiv à Marbach am Neckar. Il inventorie des livres, des extraits et des gloses écrits en six langues, l’allemand, le français, le grec ancien, l’anglais, le latin et le russe et enregistre toutes les annotations de la main de Celan. Organisé en six chapitres suivant le plan classique de l’histoire de la philosophie, ce répertoire retrace dans toute sa complexité le parcours intellectuel du poète, des présocratiques à Heidegger, Husserl, Bloch, Adorno et Derrida, en passant par Montaigne, Pascal, Leibniz, Hegel et Nietzsche, mais aussi Chestov et Lao Tseu. Frappante est la cohérence de ses lectures. Les textes qu’il relève, questionne, corrige, récrit à coups de marques préférentielles constituent son anthologie de la philosophie. Cela nourrissait le projet de composer un « livre des amis » à l’instar du Buch der Freunde de Hugo von Hofmannsthal. Le présent volume réalise d’une certaine manière son vœu d’établir un recueil d’extraits ad se ipsum et peut être lu comme le premier chapitre de son journal d’écrivain. On y découvre, on y reconnaît ses préoccupations, l’objet de ses spéculations poétiques, de ses idées à la rencontre et à l’encontre de son temps : la Shoah, l’antisémitisme et les violences protéiformes de l’Histoire, le nihilisme, la résistance de l’humain, le dialogisme de la parole, la mélancolie... Mais c’est avant tout un document singulier sur les rapports entre philosophie et poésie, dont Paul Celan bouleverse les représentations habituelles et bouge les frontières. Préface de Jean-Pierre Lefebvre Édition de Patrick Alac, Bertrand Badiou et Alexandra Richte