The poem holds its ground, if you will permit me yet another
extreme formulation, the poem holds its ground on its own margin. In order to
endure, it constantly calls and pulls itself back from an “already-no-more”
into a “still-here”.
This “still-here” can only mean speaking. Not language as
such, but responding and – not just verbally- “corresponding” to something.
In other words: language actualized, set free under the sign of a radical individuation which, however, remains as aware of the limits drawn by language as of the possibilities it opens.
In other words: language actualized, set free under the sign of a radical individuation which, however, remains as aware of the limits drawn by language as of the possibilities it opens.
This
“still-here” of the poem can only be found in the work of poets who do not
forget that they speak from an angle of reflection which is their own
existence, their own physical nature.
This shows the poem yet more clearly as one person’s language become shape and, essentially, a presence in the present.
This shows the poem yet more clearly as one person’s language become shape and, essentially, a presence in the present.
From "The Meridian," in Paul Celan: Selections, translated by Pierre Joris. University of California Press. You can find the full text in R. Waldrop's translation here.
El
poema se mantiene firme, si me permiten otra formulación extrema, el poema se
mantiene firme en su propio margen. Para persistir, se llama y se retrae
constantemente de un "ya-no-más" a un "aún-aquí".
Este
"aún-aquí" solo puede querer decir hablar. No el lenguaje como tal,
sino responder y – no solo verbalmente – "corresponder" a algo.
En
otras palabras, el lenguaje materializado, liberado bajo el signo de una
individuación radical que, no obstante, sigue estando tan consciente de los
límites trazados por el lenguaje como de las posibilidades que este abre.
Este
"aún-aquí" del poema solo puede hallarse en la obra de los poetas que
no se olvidan que hablan desde un ángulo de reflexión que es su propia
existencia, su propia naturaleza corporal.
Esto
muestra todavía más claramente el poema como el lenguaje de una persona hecho
forma y, esencialmente, una presencia en el presente.
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