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The 'microliths' series of translations from Poethead 2008-2021. These excerpts are numbered 161, 162, 162.1, 162.2
These are excerpts from Joris' translations in progress and were later published in Microliths They are, Little Stones, Contra Mundum Press, 2020
Online URL: https://www.contramundumpress.com/microliths
Hyperallergic Article: Poems in the Language of Death, January 16th 2021, Online URL https://hyperallergic.com/614769/paul-celan-poems-in-the-language-of-death/
Description
I would like to thank Pierre Joris for his translation of Microliths. These translations are © Pierre Joris
161
Remembering
also premembering, prethinking and storing of what could be
Yeats: I certainly owe more to that poet than to Fr. surreal.
Strange. In front of a candle
Now I tried to render visible the grain of sand (Buber, Chass. — //Nibelungens[on]g) that had to have been sunk into me too at some time.
Mother, candles, sabbath
But the poem lead me out of this idea, across to a new level with this idea
162
162.1
It is part of poetry’s essential features that it releases the poet, its crown witness and confidant, from their shared knowledge once it has taken on form. (If it were different, there would barely be a poet who could take on the responsibility of having written more than one poem.)
162.2
—Poetry as event
Event = truth (“unhiddenness,” worked, fought for unhiddeness)
Poetry as risk
Creation = /poweractivity /Gewalttätigkeit (Heidegger)
Truth ≠ accuracy (i: consistency)
–in each first word of a poem the whole of language gathers itself —
–handiwork: hand / think through connections
such as “hand and heart”
handiwork — heartwork
Beginning: “Poetry as handiwork”? The handmade crafting of poetry?
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© Pierre Joris 2017