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“Abend der Worte”/ “Evening of the Words” by Paul Celan (1955)
The All Poetry website offers a different (uncredited) translation of Celan’s poem. As noted above, many poets have translated Celan’s work. Reading different English translations can aid a reader in analyzing Celan’s difficult lines.
“Ars Poetica 62” by Paul Celan, translated by Rita Dove and Fred Viebahn (1998)
This is a more explicit example of a poem about the process of writing. However, both poems discuss searching for words and images. The translations of these works do their best to reproduce Celan’s penchant for coining novel compound words in German. For example, the “Wordnight” of “Abend der Worte”/ “Evening of the Words” can be compared here to “hymn-makers” (Line 6)—the compound word Hymnikern in German.
“Kleide die Worthöhlen”/ “Line the Wordcaves” by Paul Celan, translated by Pierre Joris (2014)
Written later in Celan’s life than “Abend der Worte”/ “Evening of the Words,” this poem also includes animal imagery. Here, Celan focuses on panthers, connecting animal nature with “wildnesses” (Line 6), similar to the way “Abend der Worte” links its mastiffs to “wilder” hungers.
“Sempre Bestia”/ “Always an Animal” by Luigi Pirandello, translated by Arthur V. Dieli
This poem by the Sicilian Pirandello, who wrote a generation before Celan, also explores the theme of animal nature and wildness, using the images of a lion, eagle, nightingale, and jackass.
“Poet’s Choice in the Washington Post” by Robert Hass (October 27, 1996)
Robert Hass discusses a translation of "Todesfugue"/ “Death Fugue" from John Felstiner's book Paul Celan: Poet, Survivor, Jew in this article. Hass also touches on Breathturn, a book of Celan’s later poetry translated by Pierre Joris. However, much of the article focuses on providing context about Celan’s life to understand the poet’s work. Hass explains that Celan “is such an important figure because he was one of the first German-language artists of the postwar period to face the question of how it was possible to continue to make art out of the German language after the horror of Dachau and Auschwitz.”
“Anselm Kiefer revisits Paul Celan's poetic Holocaust memorial” by Deutche Welle staff (2021)
This article introduces an art exhibition by Anselm Kiefer, “the most French of all German artists,” reflecting on the Holocaust and the works of Paul Celan. Entitled “For Paul Celan,” the exhibition demonstrated Paul Celan’s importance to not only Germany, but also to his adopted home of Paris. The article outlines the ongoing influence of the artist and the poet in their respective fields, and considers common themes in their works.
“Paul Celan Translating Others” by John Felstiner (2014)
This extensive article summarizes Celan als Übersetzer (1997), an extremely detailed book about Paul Celan’s work as a translator, some of which was completed while the poet was imprisoned in a Nazi work camp. The article notes Celan’s deep reverence for historically important poets, especially Shakespeare. Furthermore, in considering the subjects Celan chose to translate (English and French poets), the article also supplies useful biographical and contextual details about the poetic and literary spheres through which Celan moved.
This video from Deutsches Haus at NYU brings together Celan’s translator Pierre Joris, writer and director Paul Auster, and NYU Professor Ulrich Baer. The recording contains readings from Celan’s books Memory Rose into Threshold Speech and Microliths They Are, Little Stones (both translated by Joris) in honor of the 100th anniversary of Celan’s birthday.
Taped at the height of Celan’s popularity in post-war Germany, this recording of Paul Celan reading “Todesfugue”/ “Deathfugue” gives the poet voice in a way that merely reading the poem cannot. While not in English, the German video can provide insight Celan’s poetic meter and rhythm.
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