TODTNAUBERG 2

	TODTNAUBERG Arnica, eyebright, the draft from the well with the star-die on top, in the Hütte, written in the book - whose name did it record before mine - ? in this book the line about a hope, today, for a thinker’s word to come, in the heart, forest sward, unleveled, orchis and orchis, singly, crudeness, later, while driving, clearly, he who drives us, the man, he who also hears it, the half- trod log- trails on the highmoor, humidity, much.

TODTNAUBERG



Arnika, Augentrost, der

Trunk aus dem Brunnen mit dem

Sternwürfel drauf,

in der

Hütte,

die in das Buch

- wessen Namen nahms auf

vor dem meinen? -

die in dies Buch

geschriebene Zeile von

einer Hoffnung, heute,

auf eines Denkenden

kommendes

Wort

im Herzen,

Waldwasen, uneingeebnet,

Orchis und Orchis, einzeln,

Krudes, später, im Fahren

deutlich,

der uns fährt, der Mensch,

der’s mit anhört,

die halb-

beschrittenen Knüppel-

pfade im Hochmoor,

Feuchtes,

viel.

"Is this going too far? Is the reader, or translator, or exegete, or hermeneut digging too far below the surface of the poem's word? I don't think so. It is exactly in those "semantic geological stratifications," if I may say so, of that one little word, "Wasen" used instead of the more usual "Wiesen," i.e., in the substitution of an "a" for a long "ie," that the poem opens up from the restricted economy of a containable and constrainable structure (the simple, tight network of traditional poetic surface devices as exemplified here by the rhymes of the "a's") to the movement of a more general economy, a mise-en-scene, where "meaning", "reference" etc. begin to leak, to "bleed" into an unconstrainable chain."

(CELAN / HEIDEGGER: TRANSLATION AT THE MOUNTAIN OF DEATH by P i e r r e J o r i s)

:: comment :: . . . fascinated by the digging . . . greedy for more information . . . repeating & repeating & repeating . . . repetition is a form of change . . .