Poetic affairs : Celan, Grünbein, Brodsky by Brodsky, Joseph; Celan, Paul; Grünbein, Durs; Celan, Paul;

By Brodsky, Joseph; Celan, Paul; Grünbein, Durs; Celan, Paul; Grünbein, Durs; Brodsky, Joseph; Eskin, Michael

Poetic Affairs bargains with the complicated and interesting interface among literature and lifestyles in the course of the prism of the lives and works of 3 remarkable poets: the German-Jewish poet and Holocaust survivor, Paul Celan (1920–1970); the Leningrad local, U.S. poet laureate, and Nobel Prize winner, Joseph Brodsky (1940–1996); and Germany's optimal modern poet, Durs Grünbein (born 1962). concentrating on their poetic dialogues with such interlocutors as Shakespeare, Seneca, and Byron, respectively—veritable amorous affairs unfolding in and during poetry—Eskin bargains remarkable readings of Celan's, Brodsky's, and Grünbein's lives and works and discloses the ways that poetry articulates and continues to be trustworthy to the manifold "truths"—historical, political, poetic, erotic—determining human existence.

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Poetic affairs : Celan, Grünbein, Brodsky

Poetic Affairs offers with the complicated and interesting interface among literature and existence during the prism of the lives and works of 3 extraordinary poets: the German-Jewish poet and Holocaust survivor, Paul Celan (1920–1970); the Leningrad local, U. S. poet laureate, and Nobel Prize winner, Joseph Brodsky (1940–1996); and Germany's premiere modern poet, Durs Grünbein (born 1962).

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The autobiographical motivation and import of this poetically expressed resistance—paratextually corroborated by a note of Celan’s from June 1961, located (fittingly) in a folder containing his correspondence with Claire Goll: “J’assume—Je résiste—Je refuse” (I assume responsibility—I resist—I refuse)50— comes to the fore most palpably when compared to other translations of this line,  Chapter Two especially those with which Celan was familiar and which he endeavored “to steer clear of,” such as those by Gottlob Regis, Otto Gildermeister, Eduard Saenger, Stefan George, Terese Robinson, and Rolf-Dietrich Keil, none of whom takes the liberty, as does Celan, of turning Shakespeare’s resignation into resistance.

The bud scents and the work must gnaw; you are a first and are immaculate. The many ambushes already in early years: you went through, sometimes you won. This is your fame, as clear as no other, the mouth of the envious even it does not shut up. ) Addressing himself, as it were, through Shakespeare’s apostrophe to the young man, Celan appears to be condemning, while exculpating himself (“It’s not your fault”), the slanderous campaign to which he is exposed. 53 The latter’s articulation is equally facilitated by lines 9 to 10 of Sonnet 119: “O benefit of ill!

18 Taking cognizance of and acknowledging the amatory dimension of Celan’s conception of poetry as counter-word has important consequences for an adequate and contextually productive understanding of his concomitant conceptualization of poetry as an encounter with a (poetic) interlocutor or counterpart, a conceptualization that he developed under the spell of his own momentous encounter in May 1957 with Osip Mandelstam’s works—and through them, as he would claim, with the poet himself: The poem is lonely.

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