Paul Celan – författare

Ingenmansrosen, första gången utgiven 1963, är Paul Celans fjärde och mest berömda diktsamling, av många ansedd som en av den tyska 1900-talspoesins verkliga höjdpunkter. För första gången någonsin presenteras hela denna samling på svenska, i översättning av Björn Sandmark och Mikael van Reis.

One of the major twentieth-century European poets, Paul Celan wrote poetry of exceptional linguistic brilliance and intensity drawn from his experiences, particularly of the war years and the loss of his parents in the death camps. In his verse he sought to express 'not only what the experience felt like, but also a sense of living, with comprehension, inside the experience'. WINNER OF THE FIRST EUROPEAN TRANSLATION PRIZE

Paul Celan was born in 1920 in the East European province of Bukovina. Soon after his parents, German-speaking Jews, had perished at the hands of the Nazis, Celan wrote "Todesfuge" ("Deathfugue"), the most compelling poem to emerge from the Holocaust. Self-exiled in Paris, for twenty-five years Celan continued writing in his German mother tongue, although it had "passed through the thousand darknesses of deathbringing speech." His writing purges and remakes that language, often achieving a hope-struck radiance never before seen in modern poetry. But in 1970, his psychic wounds unhealed, Celan drowned himself in the Seine. This landmark volume includes youthful lyrics, unpublished poems, and prose. All poems appear in the original and in translation on facing pages. John Felstiner's translations stem from a twenty-year immersion in Celan's life and work. John Bayley wrote in the New York Review of Books, "Felstiner translates ... brilliantly."

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 Gisele Celan-Lestrange; to his friend Erich Einhorn; and to Rene Char and Jean-Paul Sartre - all appearing here for the first time in English.

Originally presented as a speech to the German Academy for Language and Poetry on the occasion of Celan's acceptance of the Georg Büchner Prize for literature, The Meridian is one of, if not the most important poetological statement of the second half of the twentieth century. Much more than a personal statement or occasional piece, it is a meditation on the state of poetry and art in general and a rigorous attempt to account for what poetry is, can, and must be after the Holocaust. This definitive historico-critical edition, available for the first time in English, presents not only the first drafts, but also a vast array of notes and preparatory work and a brief essay on Osip Mandelstam, all of which work to expand the field of reference of Celan's manifesto and reveal its true scope. Rich commentaries clarify Celan's notes to authors as diverse as Leibniz, Scheler, Kafka, Hofmannsthal, Husserl, Pascal, Valéry, Heidegger, and others.Listen to an interview about Celan's Meridian with translator Pierre Joris on the radio program Cross Cultural Poetics, hosted by poet and professor Leonard Schwartz at writing.upenn.edu/pennsound/x/XCP.php#253.

“I am supposed to tell you some of the words I heard deep down in the sea where there is much silence and so much happens.” So begins the first text in this indispensable volume, which includes: “Edgar Jené and the Dream about the Dream,” “Backlight,” “The Meridian,” and the piece which Celan himself deemed his most important, “Conversation in the Mountains.” George Steiner wrote in The New Yorker that Celan’s prose was "transforming the landscape of poetic theory and of the philosophy of language.” This collection of essays, speeches, letters, as well as notes on Alexander Blok and Osip Mandelstam is a great gift to readers and to anyone who wishes to understand the twentieth century. As the philosopher Hans-Georg Gadamer wrote, “Paul Celan’s poems reach us, but we miss them.” Perhaps through these rare prose texts we may find the key to what we missed.

Paul Celan s widely recognized as the greatest and most studied post-war European poet. At once demanding and highly rewarding, his poetry dominates the field in the aftermath of the Holocaust. This selection of poems, now available in paper for the first time, is comprised of previously untranslated work, opening facets of Celan's oeuvre never before available to readers of English. These translations, called "perfect in language, music, and spirit" by Yehuda Amichai, work from the implied premise of what has been called Intention auf die Sprache, delivering the spirit of Celan's work-his dense multilingual resonances, his brutal broken music, syntactic ruptures and dizzying wordplay.

Paul Celan (192070) is one of the best-known German poets of the Holocaust; many of his poems, admired for their spare, precise diction, deal directly with its stark themes. Austrian writer Ingeborg Bachmann (192673) is recognized as one of postWorld War II German literature's most important novelists, poets and playwrights. It seems only appropriate that these two contemporaries and masters of language were at one time lovers, and they shared a lengthy, artful and passionate correspondence.Collected here for the first time in English are their letters written between 1948 and 1961. Their correspondence forms a moving testimony of the discourse of love in the age after Auschwitz, with all the symptomatic disturbances and crises caused by their conflicting backgrounds and their hard-to-reconcile designs for living-as a woman, as a man, as writers. In addition to the almost 200 letters, the volume includes an important exchange between Bachmann and Gisele Celan-Lestrange, who married Celan in 1951, as well as the letters between Paul Celan and Swiss writer Max Frisch, who was Bachmann's lover for four years. 'Wieland Hoban has worked with accuracy and determination to capture the nuances of style and register, which include oblique awkwardness (Celan) and self-assuredness (Bachmann), alongside infinite courage and astounding strength (Celan-Lestrange). The translation reads well, with just a slight edge of the original diction remaining to remind readers that we are witnessing a different time and place, and way of perceiving the world. . . . This is an important addition tot he work in translation of two major post-war writers.'- Times Literary Supplement'This book is highly recommended. You cannot possibly be disappointed by it, especially if you are familiar with these writers' literary output, each of which left the world a completely original, masterful, and highly influential body of work. The letters move from youthful heartbreak and poetical exuberance to the destructive later exchanges between two people who cannot trust one another although they are, until the end, drawn to each other. It's not a book you read and shelve. It's a book to read and reread, a book to treasure.'- Shigekuni. Read the lengthy, detailed and enligtening review of the book here.'Correspondence, rendered perfectly in English by Wieland Hoban, traces [Celan and Bachmann's] letters, telegrams, and book inscriptions to one another, color-coded and augmented by hundreds of footnotes. Like other volumes from Seagull Books, it's physically gorgeous, with a pleasingly compact trim size. Reading Correspondence feels like an indulgence. It also feels disorienting. The world of the letters and the world of their authors' real lives are askew in a sometimes jarring way, so that the emotional content of the letters reads almost as fiction.'- Aaron Belz, Books & Culture

Paul Celan (1920–70) stands as one of the greatest post-war European poets, a writer whose painful struggle with the possibilities and limitations of German, his native language, has helped to define the response of poetry in the aftermath of the Holocaust.Celan’s prose is as thought-provoking as, and less familiar than, his poetry. The writings and aphorisms on poetry and art illuminate the sources of his language: he explores the condition of being a stranger in the world, the necessity – and limitation – of discourse, enlarging our understanding of the poet and his vocation. A spare and reluctant prose writer, Celan speaks with a quiet authority that insists on the centrality of poetry in the modern world.Rosmarie Waldrop’s translation remains true to the poetic rhythms of Celan’s prose; her introduction sets the pieces in context.