Collecting Paul Celan (2)

Paul Celan: Breathturn to Timestead: The Collected Later Poetry,
trans. with a commentary by Pierre Joris (2014)

Quite some time ago now (2011), I wrote a post, Collecting Paul Celan, which listed most of the salient books by and about Paul Celan then available in English. There are now some new ones which deserve celebration, however.

It's now (almost) possible to read all of his complete published books of poetry in English translations, for instance. That might seem like an odd thing to want to do, but there's certainly a strong argument that each of them is a coherent work in itself:

1. Der Sand aus den Urnen [The Sand from the Urns] (1948)

This, the first of Celan's collections, appeared in a form so riddled with errors and misprints that he disowned it soon after publication. It does, however, include his most famous poem, "Todesfuge."



2. Mohn und Gedächtnis [Poppy and Memory] (1952)

The contents of Celan's first collection were reprinted here in a corrected form, together with much new material. Nobody has yet provided us with a complete translation of the book, though there are substantial selections from it in the translations by Michael Hamburger (1988) and John Felstiner (2001), among others.



3. Von Schwelle zu Schwelle (From Threshold to Threshold] (1955)

Paul Celan: From Threshold to Threshold



Celan, Paul. From Threshold to Threshold. 1955. Trans. David Young. Grosse Pointe Farms, Michigan: Marick Press, 2010.



4. Sprachgitter [Speech Grille] (1959)


Paul Celan: Language Behind Bars



Celan, Paul. Language Behind Bars. 1959. Trans. David Young. Grosse Pointe Farms, Michigan: Marick Press, 2012.



5. Die Niemandsrose [No One's Rose] (1963)


Paul Celan: No One's Rose



Celan, Paul. No One's Rose. 1963. Trans. David Young. Grosse Pointe Farms, Michigan: Marick Press, 2014.



6. Atemwende [Breathturn] (1967)

Paul Celan: Breathturn



Celan, Paul. Breathturn. 1967. Trans. Pierre Joris. Sun & Moon Classics, 74. Los Angeles: Sun & Moon Press, 1995.



7. Fadensonnen [Threadsuns] (1968)

Paul Celan: Threadsuns



Celan, Paul. Threadsuns. 1968. Trans. Pierre Joris. Sun & Moon Classics, 122. Los Angeles: Sun & Moon Press, 2000.




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Paul Celan: Fathomsuns



Celan, Paul. Fathomsuns / Fadensonnen and Benighted / Eingedunkelt. 1968. Trans. Ian Fairley. Manchester: Carcanet Press Limited, 2001.



8. Lichtzwang [Lightduress] (1970)

Paul Celan: Lightduress



Celan, Paul. Lightduress. 1970. Trans. Pierre Joris. Green Integer, 113. København & Los Angeles: Green Integer Books, 2005.



9. Schneepart [Snow Part] (posthumous: 1971)


Paul Celan: Snow Part



Celan, Paul. Snow Part / Schneepart. 1971. Trans. Ian Fairley. Riverdale-on-Hudson, New York: The Sheep Meadow Press, 2007.



10. Zeitgehöft [Timestead] (posthumous: 1976)

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So, to summarise, Paul Celan's 1955, 1959 and 1963 collections are now available in single-volume, dual-text translations by David Young. Celan's three subsequent collections (dated 1967, 1968, and 1970), together with the two posthumous collections (1971 and 1976) are all included in Pierre Joris's new book Breathturn to Timestead: The Collected Later Poetry (New York: Farrar, Straus & Giroux, 2014).

To complicate matters somewhat, Ian Fairley has provided us with his own single-volume editions of Fadensonnen [Fathomsuns] (1968) and Schneepart [Snow Part] (1971), so there we have some doubling up.

Paul Celan: Corona, trans. Susan Gillespie (2013)

What else? Susan Gillespie has provided an attractive new selection from Celan's poetry (Corona: Selected Poems of Paul Celan. Trans. Susan H. Gillespie. Station Hill of Barrytown. New York: Institute for Publishing Arts, Inc., 2013). No doubt there will be many more such to come.

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On a rather more egotistic note, my own Celan versions from Celanie: Poems & Drawings after Paul Celan (Auckland: Pania Press, 2012) can also be accessed here, together with Emma Smith's wonderful drawings here, as well as various textual notes. "The Twenty-Year Masterclass," my introduction to the book can be read here.

Jack Ross & Emma Smith: Celanie (2012)

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The Age of Slaughter

Tracey & me

Tracey Slaughter's Booklaunch
[26/5/16]

So on Thursday Bronwyn and I drove down to Hamilton for the launch of Tracey Slaughter's latest book, deleted scenes for lovers.

Here's Tracey with her book (unless otherwise noted, all the pictures in this post have been borrowed from Mayhem Literary Journal's facebook page):

Tracey & books

The event was very ably MC'ed by Waikato University's own Mark Houlahan:

Mark Houlahan

It was very well attended:

The Crowd in the Gallery

The speakers included her publisher, Fergus Barrowman, of Victoria University Press:

Fergus Barrowman

Distinguished novelist (and Tracey's good friend) Catherine Chidgey:

Catherine Chidgey

And also me, making the official launch speech:

Me launching the book

And, for those of you who are curious, here it is:

Tracey Slaughter. deleted scenes for lovers. Wellington: Victoria University Press, 2016.

There are many great New Zealand poets, novelists – and creative writers generally, but I still feel confident in claiming that the short story is the genre in which we’ve most distinguished ourselves.

To my mind, these are the four great epochs of the New Zealand short story:

First (of course) the Age of Mansfield: It’s fair to say that the atmospheric intensity of Katherine Mansfield’s fiction was helped by her reading of Chekhov, Flaubert and Maupassant. But I think her work would have developed that way even if she’d never encountered them.

Secondly, the Age of Sargeson: Again, there were outside, mainly American influences on the innovations pioneered here by Frank Sargeson. But his exploration of the literary resources of the New Zealand vernacular – breaking away from dialect as a kind of comic turn – remains revolutionary.

The chronology gets a bit more shaky after that, but the next great age, for me, is the Age of Marshall. Owen Marshall – still with us, fortunately – with his immense body of work exploring the New Zealand experience in all its multifaceted variety, built on the work of previous writers such as Maurice Duggan to present a more consciously symbolic reading of the landscape and mores of the country.

And now we come to the Age of Slaughter. This last category may rouse a bit more controversy. There are, to be sure, many fine practitioners of the art of the short story in New Zealand right now: Breton Dukes, Sue Orr, Alice Tawhai, to name just a few. What is it about Tracey’s work which gives it such extraordinary significance?

It’s not simply a matter of talent – though I would defy anyone to read Tracey’s latest collection, deleted scenes for lovers, which I feel so privileged to be here today to launch, and question the sheer magnitude of her ability as a writer: her ear for language, the mythopoeic intensity of her imagination. No, it’s more of a question, for me, of a paradigm shift.

This is one I’ve been sensing for quite some time, both in the work I receive as an editor, and the kinds of writing I see our students starting to produce – since Tracey and I both work as teachers of Creative Writing.

The Age of Slaughter, for me, has an Apocalyptic air. The authors born into it, or who inhabit it by necessity, feel at home with intense emotion. Unlike the schools of the laconic and the ironic that preceded them, they have no problem with excess, with big themes and extravagant linguistic tropes.

There’s a certain black humour about them, too: like William Faulkner, Tracey writes about situations so devastating that she almost forces us to laugh. Sometimes, as in the passage from a projected memoir with which she won the Landfall essay prize last year, she jets out passages of jewelled prose so intense and dazzling that we hardly notice the banalities of the seventies key party and ranch slider aesthetic that underlies them.

Both Sargeson and Marshall specialised in apparent simplicity: a straightforward surface concealing strange depths. Tracey, by contrast (I would argue), has taken inspiration from Mansfield’s late stories to use the full resources of a poet’s word-palette when painting her complex and devastating scenes. You always have to read a Tracey Slaughter story twice: even then some of its subtleties may lie in wait to ambush you later.

Courage, however, is the word which most frequently comes to my mind when I read Tracey’s work. She goes places others (including myself) are afraid to. The interrogation of the word “consent” in the story of that name, the sheer intensity of the wish for escape and freedom in “How to Leave Your Family,” the dark close of “The Longest Drink in Town” – there’s no holding back in any of these pieces. But neither is there any over-simplification, no failure – above all – to find the “right word, not its second cousin,” which Mark Twain defined as “the difference between lightning and a lightning bug.”

If you want to know where New Zealand culture is right now, read Tracey Slaughter. Buy her book; get her to sign it; you won’t regret it. I’ll go further. Even if many of you couldn’t care less about New Zealand writers and their various turf wars and attempts at self-definition (why should you, after all?), if you want to know how it feels to live in this country: to recognise the thousand small details that go to make up a sense of place: the feel of wet flannelette pyjamas on a child who’s wet the bed; how it feels to kiss a smoky mouth you shouldn’t, read Tracey Slaughter.

To say I recommend this book is to put it mildly. I think it’s an indispensable book. This is our Prelude, our That Summer, our The Day Hemingway Died. This is no drawing-room talent we’re talking here: this is Tracey Slaughter. And for better or worse, in all its beauty and complexity, but also its fears and devastations, its intimations of total eclipse, this is the Age of Slaughter.

Steven Toussaint, Catherine Chidgey, Catherine Wallace et al.

Congratulations, Tracey!

Movies about English Teachers

Peter Weir, dir. Dead Poets Society (1989)

The moment I'd posted the previous list, Bronwyn pointed out a whole lot of movies I'd left out. I still think there's a slight difference between inspirational English teacher movies and inspirational university Creative Writer teacher films, but I agree that there's not a lot in it.

Is there anybody on the planet who hasn't watched Robin Williams getting his students to stand on top of their desks, judging how they walk, and telling them to rip out the introduction to their poetry anthology? It's a pity that Vachel Lindsay's "The Congo" seems to be their poem of choice (though Shakespeare gets a bit of a look-in, too), but there's no doubt that this is the King Kong of English teacher movies.

John N. Smith, dir. Dangerous Minds (1995)

Michelle Pfeiffer as a poetry teacher, yes, I can see that (just). Michelle Pfeiffer as an ex-Marine - we-ell, that's a bit harder to swallow.

Much ranting about Dylan Thomas is how I remember her pedagogical approach ("when you can read poetry, you're loaded for bear!"). Oh, and the Dylan-Dylan challenge ... Great sound-track album, though, definitely (even before the Mad Al Yankovich parody).

Richard LaGravenese, dir. Freedom Writers (2007)

While it seems to have sunk without a trace, and was a little clunky in its construction, this movie really packed a surprising punch, I thought. And it really did preach the virtues of writing things down - if not to exorcise them at any rate to assert some sort of control over them.

In fact, looking through the page of quotes from it on the IMDB, I feel like watching it again. Here's one of the quotes from Hillary Swank's character, Erin Gruwell, who's just found a racist drawing by one of the students, Tito:

Maybe we should talk about art. Tito's got real talent, don't you think? You know something? I saw a picture just like this once, in a museum. Only it wasn't a black man, it was a jewish man. And instead of the big lips he had a really big nose, like a rat's nose. But he wasn't just one particular jewish man. This was a drawing of all jews. And these drawings were put in the newspapers by the most famous gang in history. You think you know all about gangs? You're amateurs. This gang will put you all to shame. And they started out poor and angry and everybody looked down on them. Until one man decided to give them some pride, an identity... and somebody to blame. You take over neighborhoods? That's nothing compared to them. They took over countries. You want to know how? They just wiped out everybody else. Yeah, they wiped out everybody they didn't like and everybody they blamed for their life being hard. And one of the ways they did it was by doing this: see, they print pictures like this in the newspapers, jewish people with big, long noses... blacks with big, fat lips. They'd also published scientific evidence that proved that jews and blacks were the lowest form of human species. Jews and blacks were more like animals. And because they were just like animals it didn't matter if they lived or died. In fact, life would be a whole lot better if they were all dead. That's how a holocaust happens. And that's what you all think of each other.

John Krokidas, dir. Kill Your Darlings (2013)

I suppose that this is more of an anti-English teacher film than one in praise of them. Nevertheless, at the end the pompous Walt Whitman-hating Professor ends up encouraging Ginsberg to keep on writing.

Some nice quotes from this one on the IMDB, too:

William Burroughs: Show me the man who is both sober and happy, and I will show you the crinkled anus of a lying asshole.

Gus Van Sant, dir. Finding Forrester (2000)

Ditto this one. The J.D. Salinger-like "Forrester" of the title encourages the young black writer despite all the put-downs he gets from his loathsome teacher F. Murray Abraham.

The best scene is probably the one where Sean Connery is telling his protege to really bash those typewriter keys: "Now you're cooking ... You're the man now, dog!"

No thinking - that comes later. You must write your first draft with your heart. You rewrite with your head. The first key to writing is ... to write, not to think!

I suppose films based on romantic images of J. D. Salinger would take us to Field of Dreams:

Phil Alden Robinson, dir. Field of Dreams (1989)

While "poetic mentor" films would take us to the more recent Set Fire to the Stars (based on John Malcolm Brinnin's tell-all 1955 memoir Dylan Thomas in America). You have to call a halt to the process sometime, though. In any case, the real - rather unexpected - star-turn in this Dylan Thomas bio-pic was Shirley Henderson playing horror novelist Shirley Jackson (though, strangely enough, she goes unnamed in the cast list, and the role isn't even listed on the actress's wikipedia page. Maybe something ... uncanny happened during filming. Maybe they all drew lots in some unspeakable ceremony. Maybe they all swore never ever to tell anyone anything about it ... on pain of death):

Andy Goddard, dir. Set Fire to the Stars (2014)