{"id":17015,"date":"2021-07-21T09:17:39","date_gmt":"2021-07-21T13:17:39","guid":{"rendered":"https:\/\/pierrejoris.com\/blog\/?p=17015"},"modified":"2021-07-21T09:43:13","modified_gmt":"2021-07-21T13:43:13","slug":"wordcaves-celans-insi-ght-de-s","status":"publish","type":"post","link":"https:\/\/pierrejoris.com\/blog\/wordcaves-celans-insi-ght-de-s\/","title":{"rendered":"WordCaves: Celan’s Insi\/ght\/de\/s"},"content":{"rendered":"
<\/div>\n
A poem from Paul Celan’s volume Threadsuns<\/span> in my translation. It is one of Celan’s more programmatic poems, speaking as it does to his writing in the later years, starting with Breathturn, <\/span>& gathered in Breathturn into Timestead<\/span>.<\/div>\n
<\/div>\n
\n

KLEIDE DIE WORTH\u00d6HLEN AUS
\nmit Pantherh\u00e4uten,<\/p>\n

erweitere sie, fellhin und fellher,
\nsinnhin und sinnher,<\/p>\n

gib ihnen Vorh\u00f6fe, Kammern, Klappen
\nund Wildnisse, parietal,<\/p>\n

und lausch ihrem zweiten
\nund jeweils zweiten und zweiten
\nTon.<\/p>\n

 <\/p>\n<\/div>\n

LINE THE WORDCAVES
\nwith panther skins,<\/p>\n

widen them, hide-to and hide-fro,
\nsense-hither and sense-thither,<\/p>\n

give them courtyards, chambers, drop doors
\nand wildnesses, parietal,<\/p>\n

and listen for their second
\nand each time second and second
\ntone.<\/p><\/blockquote>\n

\"\"<\/a><\/p>\n

& here a very different poem, though most certainly Celan’s most famous one, also in my translation, from Memory Rose into Threshold Speech<\/em>:<\/p>\n

 <\/p>\n

 <\/p>\n

DEATHFUGUE<\/b><\/p>\n

 <\/p>\n

Black milk of morning we drink you evenings
\nwe drink you at noon and mornings we drink you at night
\nwe drink and we drink
\nwe dig a grave in the air there one lies at ease<\/p>\n

A man lives in the house he plays with the snakes he writes
\nhe writes when it darkens to Deutschland your golden hair Margarete
\nhe writes and steps in front of his house and the stars glisten and he
\nwhistles his dogs to come
\nhe whistles his jews to appear let a grave be dug in the earth
\nhe commands us play up for the dance<\/p>\n

Black milk of dawn we drink you at night
\nwe drink you mornings and noon time we drink you evenings
\nwe drink and we drink
\nA man lives in the house he plays with the snakes he writes
\nhe writes when it turns dark to Deutschland your golden hair Margarete
\nYou ashen hair Shulamit we dig a grave in the air there one lies at ease<\/p>\n

He calls jab deeper into the earth you there and you other men sing and play
\nhe grabs the gun in his belt he draws it his eyes are blue
\njab deeper your spades you there and you other men continue to play for the dance<\/p>\n

Black milk of dawn we drink you at night
\nwe drink you at noon we drink you evenings
\nwe drink you and drink
\na man lives in the house your golden hair Margarete
\nyour ashen hair Shulamit he plays with the snakes<\/p>\n

He calls out play death more sweetly death is a master from Deutschland
\nhe calls scrape those fiddles more darkly then as smoke you\u2019ll rise in the air
\nthen you\u2019ll have a grave in the clouds there you\u2019ll lie at ease<\/p>\n

Black milk of dawn we drink you at night
\nwe drink you at noon death is a master from Deutschland
\nwe drink you evenings and mornings we drink and drink
\ndeath is a master from Deutschland his eye is blue
\nhe strikes you with lead bullets his aim is true
\na man lives in the house your golden hair Margarete
\nhe sets his dogs on us he gifts us a grave in the air
\nhe plays with the snakes and dreams death is a master from Deutschland<\/p>\n

your golden hair Margarete
\nyour ashen hair Shulamit<\/p>\n

 <\/p>\n

\"\"<\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

A poem from Paul Celan’s volume Threadsuns in my translation. It is one of Celan’s more programmatic poems, speaking as it does to his writing in the later years, starting with Breathturn, & gathered...<\/p>\n","protected":false},"author":1,"featured_media":17018,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-17015","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/17015","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/comments?post=17015"}],"version-history":[{"count":9,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/17015\/revisions"}],"predecessor-version":[{"id":17028,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/17015\/revisions\/17028"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/media\/17018"}],"wp:attachment":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/media?parent=17015"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/categories?post=17015"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/tags?post=17015"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}