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<strong>Spike</strong> | 15 YEARS OF BOOKS, MUSIC, ART, IDEAS | www.spikemagazine.com<br />

as we had known it. The new language, the new poetry,<br />

would be a way of turning us toward that which is<br />

absent in our everyday world, that which “stands apart<br />

in the world”. This formulation, like Heidegger’s clearing,<br />

betrays a religious sensibility. After Auschwitz,<br />

however, God was under radical question. The space<br />

left by Him, on the other hand, was not:<br />

Psalm<br />

No one moulds us again out of earth and clay,<br />

no one conjures our dust.<br />

No one.<br />

Praised be your name, no one.<br />

For your sake<br />

we shall flower.<br />

Towards<br />

you.<br />

A nothing<br />

we were, are, shall<br />

remain, flowering:<br />

the nothing-, the no one’s rose.<br />

With<br />

our pistil soul-bright,<br />

with our stamen heaven-ravaged,<br />

our corolla red<br />

BUY Paul Celan books online from and<br />

with the crimson word which we sang<br />

over, O over<br />

the thorn.<br />

(Trans: Michael Hamburger)<br />

One can draw neither comfort nor despair from this<br />

poem, or rather, neither of them alone. It is a psalm and<br />

an antipsalm; sacred and bitter. What stands apart is palpable<br />

only in its absence; a void saturated by void, to use<br />

Blanchot’s phrase. Celan’s biographer John Felstiner has<br />

brought out the allusions within ‘Psalm’ to Jewish and<br />

Christian mysticism, both of which has to be bypassed<br />

here. But, to repeat Eliot on Dante, I think it communicates<br />

before any of these allusion are understood.<br />

It may seem paradoxical that the writer of such a<br />

poem as ‘Psalm’ has a biographer (Heidegger says the<br />

author of every masterful poem is unimportant) and<br />

Felstiner’s book does indeed concentrate on the poems.<br />

Despite this, he uncovers the probable origin of the title<br />

of his 1959 collection Sprachgitter – Speech Grille.<br />

Celan’s mother-in-law retreated to a convent and<br />

when the family visited her, she would remain behind<br />

a grill. Such a barrier holds also for poetry’s revelation.<br />

One must accept the limit for it to work; the limit is<br />

part of the experience. Or non-experience. Lacoue-<br />

Labarthe’s brief and powerful book on Celan is actually<br />

called “Poetry as Experience”. It characterises<br />

the poem as something always returning to its source,<br />

154<br />

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