Download PDF by Günter Eich: Angina Days: Selected Poems

By Günter Eich

ISBN-10: 0691144974

ISBN-13: 9780691144979

This can be the main accomplished English translation of the paintings of Günter Eich, one of many maximum postwar German poets. the writer of the POW poem "Inventory," between the most well-known lyrics within the German language, Eich used to be rivaled in basic terms through Paul Celan because the top poet within the new release after Gottfried Benn and Bertolt Brecht. Expertly translated and brought through Michael Hofmann, this assortment gathers 80 poems, many drawn from Eich's later paintings and such a lot of them translated right here for the 1st time. the quantity additionally comprises the unique German texts on dealing with pages.

As an early member of "Gruppe 47" (from which Günter Grass and Heinrich Böll later shot to prominence), Eich (1907-72) used to be on the leading edge of an attempt to revive German as a language for poetry after the vitriol, propaganda, and lies of the 3rd Reich. brief and transparent, those are undying poems during which the ominousness of fairy stories meets the delicacy and suggestiveness of a ways jap poetry. In his past due poems, he writes usually, movingly, and sometimes wryly of disease and disorder. "To my mind," Hofmann writes, "there's anything in Eich of Paul Klee's images: either are selfmade, modest in scale, instantly pleasant, creative, cogent."

Unjustly ignored in English, Eich unearths his excellent translator the following.

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Extra info for Angina Days: Selected Poems

Sample text

And the syntactical crisis of which it is the clearest index can also take place, more discreetly, in prose, which is to say in a purely syntactical rhythmic setting. ) Literature can be defined by the uneasiness of its syntax without resorting to mixed genres or confounding it with their respective practices. force The sentence sets a force into rhythm. Neither the origin nor the nature of this force is of interest to literature. This force is of interest only to the extent that it is oriented toward a proffering.

But, before even taking form, doesn’t each sentence have an author whose subject matter it will serve? The idea of an enunciating subject, the idea of a desire matured by objects, and the very idea of something to say are secondary effects of the sentence, of its retrospective establishing; they are formed after the fact. The illusion that this subject, this desire, and this meaning-to-say exist before the sentence is but the passively contemplated deformed image of the first active retrospection.

This voice is a literary idiom, language heard as echo. Making sentences in this language is making ­language step back. Making sentences in this language which is not a language, but a certain retrospective take on language, is inventing sentences. “origin” Literature reduces its origins to the retrospective forms of an establishment. But does it answer to a “question of origin”? If radical responses are amiss, it is because origin is language in general: proximity unequalled, yet an intangible figse e ki ng a se nte nc e 11 ure of proximity.

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Angina Days: Selected Poems by Günter Eich


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