The Lyric, History, and the Avant-Garde: Theorizing Paul Celan

Shira Wolosky
Poetics Today, Volume 22, Number 3, Fall 2001, pp. 651-668 (Article)
Published by Duke University Press
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The Lyric, History, and the Avant-Garde:
Theorizing Paul Celan
Shira Wolosky
English and American Literature, Hebrew University
Abstract Discussions of l,ric teno to bifurcate into, on the one hano, theoretical re-
ection, in vhich l,ric is oeneo as a self-referring language artifact, ano on the other
hano, historical reference, vhich tenos to ignore formal consioerations. This article
argues against such an opposition betveen theor, ano histor, ano argues for a l,ric
theor, that sees poetic language as representing historical experience vithin the ver,
formal elements ano self-consciousness of language that are l,ric poetr,s oistinctive
features. Faul Celan oers a paraoigmatic illustration of such s,nthesis.
Interpretations of l,ric poetr, often bisect in va,s that suggest tvo halves
of a brain unable to communicate vith one another. On one sioe are formal
anal,sis ano theoretical reection. On the other is historical reference,
vhere the poem risks being reouceo to illustration or footnote for exter-
nal concerns or perhaps becomes an instance vithin a histor, of aesthetic
movements. In either case histor, ano formal anal,sis oppose each other,
vhile the theoretical status of the text remains that of a freestanoing, inoe-
penoent object, revelator, of its ovn constitution rather than connecteo to
exterior vorlos.
This tenoenc, of l,ric theor, to vithoravthe text fromhistor, has a cer-
tain generic force. As Hans Magnus Enzensberger :q8.: ..8, observes,
poetr, resists the sorts of historical penetration that other genres seem to
This article grevout of a talk originall, oelivereo at Tel Aviv Universit,. I vish to thank Meir
Sternberg for his extraoroinar, eoitorial attention.
Poetics Today ..: Iall .oo:,. Cop,right .oo: b, the Forter Institute for Foetics ano Semi-
otics.
652 Poetics Today 22:3
aomit: While orthooox literar, sociolog, can at least enter halfva, into
the heart of a novel or pla, b, va, of the pons asinorum of its plot, poetr,
excluoes such an approach from the outset.
1
But the resistance to histor,,
vhether as sociological context or political commitment, as events anotheir
narrative reections, or as the movement of temporalit, as such in its con-
tingent ano conoitional impetus, is itself, as Enzensberger varns, a histori-
cal phenomenon that occurs in historical contexts. If, as he vrites, the
political aspect of poetr, must be immanent in poetr, itself ano cannot be
oeriveo from outsioe it, then the apparent elevation of poetr, as be,ono
histor, is no less historicall, impelleo:
Such obtuseness pla,s into the hanos of the bourgeois esthetic that voulo like to
oen, poetr, an, social aspect. . . . The, aovise poetr, to stick to such mooels as
the, have oeviseo for it, in other voros, to high aspirations ano eternal values.
The promiseo revaro for this continence is timeless valioit,. . . . |But| a political
quarantine placeo on poetr, in the name of eternal values itself serves politi-
cal enos. Foetr, is to be maoe surreptitiousl, serviceable to those enos precisel,
vhere its social relevance is oenieo, as oecoration, as vinoovoressing, as a stage
set representing eternit,. Ibio.,
The l,ric is a timeless, formal purit,, or it is suboroinateo to histor,,
vith each approach appropriating l,ric to a particular ioeological ser-
vice. Avant-garoe aesthetics specicall, target this oivioeo conoition. The
avant-garoe pleogeo itself both to self-conscious formal experimentation
ano to social commitment, even intervention: vhat Ra,mono Williams
:q8q: 6, calls the avant-garoes broao programme tovaro the overthrov
ano remaking of existing societ,. The specic urgenc, of a theor, of
the avant-garoe then is to reassociate these oivioeo impulses, formal self-
consciousness vith historical engagement.
Iormal raoicalism remains in man, va,s the visible signpost of avant-
garoism, marking ano launching the plunge into process, mutation, mili-
tant aovance, vhich the ver, term avant-garde announces.
2
Renato Foggioli
:. Barret Watten :qq: , similarl, observes that even nev historicism has not been kino to
poetr,, positioning it as hanomaio to a representation of culture that seems often to take place
as if cultures existeo apart from the makers if not the interpreters, of them. One notable
area in vhich historical investigation has ourisheo is feminist criticism, in vhich formal ano
theoretical anal,sis appears alongsioe ano often in cross-reference to historical stuo, ano
ioeological argument. Ior an overviev of feminist criticism see Shovalter :qq.
.. I here elioe the vioel, oiering treatments of avant-garde, especiall, regaroing periooiza-
tion ano the oistribution of oistinct movements ano moments in the oevelopment of l,ric
through aestheticism ano mooernism, into tventieth-centur, avant-garoe. In this I follov,
among others, Theooor Aoorno ano Renato Foggioli. Aoornos bracketing of mooernist ano
avant-garoist aesthetics is evioent throughout his Aesthetic Theory :qo,, as can be seen even
in the inoex, vhere mooernism ano avant-garoe are cross-referenceo. This conation is one
Wolosky

The Lyric, History, and the Avant-Garde 653
:q6.: ::., :, .:,, ioentif,ing the experimental factor as basic in
his Theory of the Avant-Garde, oul, varns that, like an, given st,listic fea-
ture, experimentalism ooes not necessaril, have the same motivation, the
same purpose, an alva,s unique ano equal meaning. But most oiscussions
of formal raoicalism assume it projects a nonrepresentational art vhose
eect is self-enclosure. Iormal experiment is characteristicall, regaroeo as
breaking representational conventions, throving the artvork back on itself
in reexive self-reference. This tenos to be the case on both sioes of the
critical oivioe, the historicist as vell as the formalist. It persists into appar-
ent revolts against s,mbolist formalism such as occur in certain mooes of
oeconstruction, notabl, Faul oe Mans.
The roots of such self-reexive ioeolog, go back to s,mbolist theorists,
particularl, Stphane Mallarm, although it also nos articulation among
art historians of experimental painting. Thus E. H. Gombrich :qq: .8,
oescribes cubist painting as presenting the artvork as a man-maoe con-
struction, a coloureo canvas. . . . If illusion is oue to the interaction of clues
ano the absence of contraoictor, evioence, the onl, va, to ght its trans-
forming inuence is to make the clues contraoict each other ano to pre-
vent a coherent image of realit, from oestro,ing the pattern in the plane.
These aesthetic claims are elaborateo b,, for example, Rosalino Krauss,
vho sees avant-garoe art as a raoicalization of antireferential tenoencies.
She thus interprets the grio, vhich she ioenties as a central form among
man, avant-garoe painters, as a relentless assertion of the autonom, of
the realm of art, a realm she sees as anti-natural, antimimetic, unreal
:qq:: q,. The grio, she conceoes, ooes in some sense point outvaro to com-
pel our acknovleogement of a vorlo be,ono the frame, but it ooes so in
an ambivalent ano even schizophrenic manner, ultimatel, introject|ing|
the bounoaries of the vorlo into the interior of the vork . . . the content of
vhich is the conventional nature of art itself ibio.: :q.o,. The grio thus
remains antioevelopmental, antinarrative, antihistorical :,. She simi-
larl, sees the collage as poiseo against an aesthetic of reference oespite the
presence of the actual objects it incorporates. Collage becomes a meta-
language of the visual vhose referent is an absent meaning, meaningful
onl, in its absence q,.
of Feter Burgers :q8: ::, complaints about Aoorno: B, Mooernism, Aoorno means art
since Bauoelaire. The concept thus takes in vhat oirectl, preceoeo the avant-garoe move-
ments, those movements themselves, ano the neo-avant-garoe. Burger also takes technical
innovation as a central ioentif,ing feature of the avant-garoe, although he then suboroinates
it to questions of the social status of art e.g., .o, .,. Even here, hovever, at least some of
the criteria Burger eouces in his attempt to oistinguish a true avant-garoe from, for example,
mooernism also appl, to T. S. Eliot, as vhen he oenes the avant-garoe as an attack on the
status of bourgeois art q,.
654 Poetics Today 22:3
Theories of the l,ric teno to pursue this antirepresentational unoerstano-
ing. Sharon Cameron :qq: :q6,, in Lyric me, generalizes an atempo-
ral ano ahistorical impulse as a conoition of l,ric as such, claiming that
language in the l,ric oispenses vith the time that threatens to oestro, it.
Burgers Theory of the Avant-Garde :q8, ooes treat histor, but mainl, in
terms of changing social functions of art as an institution ano as a oevel-
opment tovaro increasing self-reference. Avant-garoe art is thus oeneo as
the ever-increasing concentration the makers of art bring to the meoium
itself, vhich, even if it exposes ano critiques, still assents to the aestheti-
cists rejection of the vorlo ibio.: ., q,. Even eorts tovaro bringing
formal ano historical anal,sis of the avant-garoe to bear on each other
often illustrate the challenges involveo in ooing so. Thus, although Wil-
liams :q8.: :8, is committeo to extenoing historical reection to formal
consioerations, he oevotes his fullest excursus into concrete anal,sis of hov
certain forms of social relationship are oeepl, embooieo in certain forms
of art to orama rather than l,ric.
3
Marjorie Ferlo :q8: :8:, perhaps goes farthest tovaro accommooat-
ing both experimental ano historicist impulses in her oiscussions of avant-
garoe l,ric, vhich she sees as a nev poetr, that vants to open the elo
so as to make contact vith the vorlo as vell as the voro.
4
L,ric experi-
ment vith collage incorporates oirectl, into the vork an actual fragment
of the referent, thus forcing the reaoer or viever to consioer the interpla,
betveen preexisting message or material ano the nev artistic composition
that results from the graft. This she opposes to a mooernism that vas to
turn increasingl, elitist ano formalist in its concern for self-sucient struc-
tures ano aesthetic oistance :q86: xviii,. Yet her core notion of a poetics
of inoeterminac, as itself an irreoucible ambiguit, remains ambivalentl,
poiseo betveen such historicist incorporation ano the artvorks attempt to
block the construction of meaning :q8: ; cf. q,. As she vrites of col-
lage in The Futurist Moment :q86,: Each element . . . has a oual function: it
refers to an external realit, even as its compositional thrust is to unoercut
the ver, referentialit, it seems to assert q,.
In this ambivalence betveen histor, ano theor,, reference ano self-
consciousness, the case of Faul Celan emerges as pivotal exactl, because
. Specic oiscussion of the avant-garoe, as in The Sociolo of Culture :q8.,, calls for a soci-
olog, exploring its situation vithin metropolitan ano immigrant culture :q8.: 88,. In The
Politics of Modernism :q8q,, Williams emphasizes the oiversit, of actuall, anteceoent vriting
practices ano theories of language as against a reouctionist interpretation that stresses a
common rejection of the representational character of language ano thence of vriting 66,.
. Compare The Futurist Moment :q86,, vhich oescribes futurism as a poetr, vhose vin-
oovs are vioe open to the boulevaroshere is a program that points the va, to our ovn
urge to break oovn the bounoaries betveen vorlo ano text xvii,.
Wolosky

The Lyric, History, and the Avant-Garde 655
his poetr, is extreme ano is so in both apparentl, opposeo oirections.
Ior histor,-minoeo critics Celan is above all a Holocaust poet. But for
l,ric theorists his texts are par excellence autonomous, self-referential lan-
guage structures, abnegating a relation to an, vorlo outsioe them. This
tenoenc, appears in grotesque formin once-existing classroominstructions
to teachers to prevent oiscussion of Celans most famous poem, Todesfuge
|Deathfugue|, from oigressing from formal consioerations into oiscussions
of concentration camps Demetz :q.: 8:,. But it persists in various va,s
through much vriting on Celan. Aoorno serves here as both paraoigm
ano source. Aoorno :q: 8, 6:, gives aesthetic autonom, a paraooxical
turn b, making poetr,s self-constitution accoroing to its ovn particular
lavs exactl, its mooe of historicit,, that is, making aesthetic resistance
into a negative reection of the vorlo. In his Aesthetic Theory :qo,, Aoorno
specicall, makes Celan an epitome of such anti- or negative-historicist
historicism. Citing Celan as the greatest exponent of hermetic poetr, in
present-oa, German,, Aoorno immeoiatel, complicates his notion of the
hermetic. It is a total isolation of the vork of art from empirical realit,,
vhich ,et requires one . . . to h,pothesize a connection betveen it ano
societ,. The connection, hovever, is a negative one, in vhich art main-
tains its integrit, onl, b, refusing to go along vith communication. This
results nall, in vinoovless creations, vhich, in the case of Celan, issue
in the negativit, of silence. Recognizing that art is unable either to experi-
ence or to sublimate suering, Celans poems, vrites Aoorno, articulate
unspeakable horror b, being silent, thus turning their truth content into a
negative qualit, ,. Aoornos famous remark calling poetr, after
Auschvitz barbaric in fact maoe special reference to Celan, vho responoeo
that in poetr, ve knov at last vhere to seek the barbarians |Glenn :q:
|,.
5
Aoornos stance generall, reconrms the tension betveen a theorizeo
textual status as against empirical realit, ano societ,, as he puts it, such
that even their rapprochement remains paraooxicall, oppositional. Ano
even this paraooxical anti-, reference oissolves in the theorizing of Faul oe
Man. Ior oe Man :qq: 8,, Celans poems are constellations of gures
that are inaccessible to meaning ano to the senses, locateo far be,ono an,
concern for life or for oeath in the hollov space of an unreal sk,. Inac-
cessible to meaning, empt, of sense, be,ono concern for life or oeath, the
poem takes place in an unreal space oeneo onl, b, itself.
In oe Man, I voulo argue, formalism fullls itself in nihilism: the abso-
lute text becomes a hollov negative space vithout relation to an,thing
. Aoornos remark appears in Prisms :q8.: ,. Celans response to it is oiscusseo in Glenn
:q: ano Wolosk, :qq: :6.. See Wolosk, :qq: :qo for a fuller oiscussion of Aoornos
aesthetic anal,sis of Celan.
656 Poetics Today 22:3
outsioe it. In Celan stuoies this split betveen theoretizeo text ano exterior
vorlos is severe. Celan stuoies are either historical or formalist-theoretical.
But Celans vork oirectl, contests just such oivisions. In so ooing Celan
shifts the implications of experimental self-consciousness ano its relation-
ship to historical factors. Celans vork projects a theor, of the l,ric that
is profounol, historicizeo ano temporal in confrontation, response, ano
responsibilit, to historical challenge ano not least vithin the l,rics ovn
formal realization. What I vish to explore specicall, is the penetration
of histor, into the ver, linguistic conouct of the l,ric, into the aesthetic-
formal proceoures so often separateo o from histor,, to see these forms as
integrall, if also variousl, temporalizeo ano historical insteao.
Histor, in fact can enter into l,ric oiscourse in a variet, of va,s. It ma,
serve as a source of references for imager, ano other poetic features reg-
istereo as events oirectl, citeo in a poem. Events ma, have inspireo the
artvork as a oirect response to them, serveo as occasion for them, or poseo
a target the artist vishes to aooress. The artist certainl, labors in specic
historical circumstances vith specic ano changing auoiences ano relation-
ships to them, even to the point of aiming for oirect or political eects.
The artvork ma, also be part of a histor, of aesthetic movements that it
helps to track or shape, consciousl, or not. But it has as vell a historical
oimension or representation vithin the constitutive features of l,ric that
theoretical treatments of the l,ric as opposeo to historical oiscussions of
it, characteristicall, interpret in terms of self-reexivit,, self-enclosure, ano
atemporalit,.
To explore this historicizeo formalism, I take as m, text a poem from
Atemwende.
Keine Sanokunst mehr, kein Sanobuch, keine Meister.
Nichts ervurfelt. Wieviel
Stumme`
Siebenzehn.
Deine Irageoeine Antvort.
Dein Gesang, vas veiss er`
Tiemschnee,
Iemnee,
Iie.
|No sano-art more, no sano-book, no master.
Nothing throvs the oice. Hov much
speechlessness`
Seventeen.
Wolosky

The Lyric, History, and the Avant-Garde 657
Your question,our ansver.
Your song, vhat ooes it knov`
Deepinsnov,
eepinov,
eeio.|
Celan :q8, .:q; m, translation,
6
This poem is so ruptureo as to suggest pieces of a lost Greek l,ric verse.
Inoeeo rupture, oiscontinuit,, ano fragmentation are central subjects of the
poem on ever, level of its conouct. The opening image of sano-art Sand-
kunst, inaugurates the text as a kino of anti-, ars poetica, a reection on art
ano, through a course of man, images, a reection on language: art, book,
master, silence, question, ansver, song. Yet it voulo be quite incorrect to
parse the poem as foremostl, or essentiall, self-reective language, vhere
language as subject voulo enclose the artvork ano oisjoin it from histori-
cal forces. Likevise the fragmentation in no va, congures into spatializeo
simultaneit, as co-presence vithin an inoepenoent compositional vhole.
No sano-art more exactl, contests such spatializing claims for art. Ap-
proaching ox,moron or perhaps polemic, Celan ,okes the term art, vith
all its traoitional claim to monumental immortalit, Celan translateo a
number of Shakespeares sonnets oevoteo to this topic,, to the antithesis
of such immortal anchorage, the substance of impermanence ano insecu-
rit,: sano. Ferhaps some Shelle,an Oz,manoias lurks in the backgrouno,
vhere monument is chastiseo b, oesert sanos. What lookeo monumental
is revealeo as unstable: art as sano. Yet is sano inoeeo antithetical to art`
Is its shifting, entropic, oeformative motion contrar, to art or arts con-
oition` The poem varns against the ioealization of art as permanent in-
corporation, as an absolute composition that binos its parts into totalizeo
structure vhile itself stanoing as an emblem for some ioealizeo, totalizeo
experienceioeal experience as totalizeo. Art in this monumental sense
recalls the unit, ano immutabilit, of ioeal Flatonic realms, vhich point, as
Nietzsche oecrieo, be,ono this vorlo of temporal materialit, as its nega-
tion. In this sense the artvork verges to a metaph,sical space, static ano
nalizeo. But Celan contests this ioeal, of art. Insteao, he shovs the art-
vork to register, reect, inscribe, situate, unoerscore, arm, ano risk the
mutabilit, ano conoitionalit, of contingent experience.
No sano-art more, no sano-book, no master. Here is a raoical sense of
6. Translating Celan is a topic unto itself, vhich I have oiscusseo in On Mis-,Translating
Faul Celan Wolosk, :qqq,. Here I translate the German Iie as an English eeio
since each is a reouction of the nal voro in the poem, emschnee ano Deepinsnowrespectivel,.
658 Poetics Today 22:3
rupture, loss, even assault. But the l,ric text oers not an antioote but a
register ano vitness to such rupture. The artvork ooes not transceno but
reects the conoitions out of vhich it arises, bringing them to greater con-
sciousness ano vivioness. In its negations the poem attests to the sequences
ano anteceoents that engenoer, situate, ano make possible artits institu-
tions ano transmission, its organization into books a momentous term for
Celan as both poet ano ev,, its apprenticeships that leao to artistic mas-
ter,, ano also the historical conoitions that oisturb artistic transmission ano
realization. The poem insists on its ovn emergence out of chains of ini-
tiation ano inheritance but also insists on its oisrupteo relation to them.
The historical threat to suchtransmissionalso threatens art. InTooesfuge
Celan :q8, :::, famousl, calls Death a Master from German,, Der Tod
ist ein Meister aus Deutschland. Tventieth-centur, histor, ran a course that
threatens histor, itself, oestro,ing traoitions of initiation tovaro master,.
The avant-garoes assault on traoitional forms takes a particular turn in
Celan. He neeo not assault past forms as a raoical aesthetic project; in his
post-Holocaust vorlo, this has been accomplisheo b, histor, itself. But the
poem ooes ask: What exactl, are the claims of master,, vhat ma, be their
relation to oestruction ano oeath` In Celan master, also implicates artis-
tic master, vhen conceiveo as totalizing composition oisplacing all con-
tingenc,. Here he seems close to Walter Benjamin, both in his critique of
the conception of the total artvork that abstract|s| from the social exis-
tence of man :q8: :8, ano in his varning against confusions betveen
the realms of politics ano of aesthetics :q6q: .:,.
The text of this poem is markeo b, histor, in oirect va,s. Wieviel
Stumme? is surel, also, a specic historical question. Stumme silence, looms
in Celan. In his Bremen speech he calls it ansverlessness Antwortlsig-
keit, in the face of historical horror, the thousano oarknesses of oeaol,
speech die tausend Finsternisse todbringender Rede, that his language hao to
pass through to be maoe into poems at all. Linguistic eort ooes not tran-
sceno but rather passes into ano through oestructive histor,: hindurchgehen
durch furchtbares Verstummen, into ano through fearful speechlessness, going
through ano ,ieloing no voros for vhat hao happeneo, but vent through
these events, vent through ano vas alloveo to come to light again :q8,
::86,. Celan inoeeo is, as he is often claimeo to be, a Holocaust poet.
But histor, is not onl, a particular reference ano context for Celans
texts; nor is it onl, a threat. It is the funoamental conoition, as vell as ma-
terial, for l,ric expression. The composition of the l,ric, the l,ric as com-
position, the voros that make it up, ano the shapes these voros take, are
shot through vith historicit,. Nichts erwrfelt. This untranslatable phrase
might become in English something like nothing oices, nothing throvs
Wolosky

The Lyric, History, and the Avant-Garde 659
oice-cubes. A strange neologismerwrfelt, Wrfel cube, oice,; wrfeln to
throv, to have a throv, to pla, at oice, to oice, to cut into cubes,it projects
neologistic form as funoamental in Celan. Neologism realizes the essen-
tial mutabilit, of all language ano of all experience. Human oiscourse is a
constant oissolution ano recreation as voros make their va, through his-
torical practices, oeformeo ano reformeo b, ano through events ano usage.
As Celan ibio.: :, vrites of Eogar ene: Man not onl, languisheo in
the chains of external realit, but vas also gaggeo ano coulo not speak
ano vhen I refer to speech I refer to the entire sphere of human communi-
cation ano expressionbecause his voros gestures ano motions, groaneo
unoer the buroen of a thousano ,ears of false ano oistorteo sincerit,vhat
vas less sincere than the assertion that voros somehov or other hao basi-
call, remaineo unchangeo' The neologism of throving oice is especiall,
potent for it acts as an image of neologism itself: neologism as norm, as
intimate tension betveen change ano continuit,, chance ano oirection, the
ranoom ano the oesigneo. Celans poetr, is peculiarl, premeoitateo even
as it strongl, suggests voros throvn together on a page. Connection ano
oispersion, entrop, ano oirection govern this language at each moment ano
as textual experience.
It is then part of the poems project to recall, oeform, ano recreate other
linguistic events, both intertextual ano extratextual. Celan, for example,
clearl, echoes Stphane Mallarms :q title Un coup de ds jamais nabolira
le hasard |A throv of the oice vill never abolish chance|. Celan himself
calleo his poetic project Mallarman, a va, of thinking through the con-
sequences of Mallarm to their eno :q8, ::q,. But he carefull, oistin-
guisheo his ovn position from vhat he calleo the Irench, sa,ing that his
poetr, ooesnt glorif,, ooesnt poeticize, but names ano places, attempts
to measure the realm of the given ano of the possible ibio.: :6,. If Mal-
larms :q8.: 8o, oictumthat all earthl, existence must ultimatel, be con-
taineo in a book intenos a closeo, glueo, self-referring textual realm, then
Celan inoeeo points in other oirections.
7
He projects an open, even vilo,
unpreoictable, ano constantl, oeforming course of language.
This penetrates his practice of intertextualit, itself. In Celanian lan-
guage theor,, voros carr, vith them prior usages, inevitabl, ano consti-
tutivel,, from vithin texts as also from outsioe texts. Intertextualit, thus
ooes not imagine a s,nchronicit, of interreference vhose transpositions can
be charteo structurall,, as is the case, for example, in Michael Riaterre.
. Mallarms ovn art ma,, hovever, be more pleogeo to chance ano the momentar,, as
event, than is generall, thought. Mallarm also speaks of the poemas a vibrator, oisappear-
ance vith the pla, of the voro :q8.: ,, an immaculate grouping of universal relationships
come together for some miraculous ano glittering occasion ibio.: 8o,.
660 Poetics Today 22:3
Celan rather shifts inter- ano extratextualit, ava, froms,stem. He ooes not
assume vhat ulia Kristeva :q8o: , oescribes in introoucing the term,
as a totalit, the text,, in vhich a transposition of one or several, sign-
s,stems, into another is seen to absorb it along vith the text of societ,
ano histor,, into a elo of transpositions of various signif,ing s,stems.
8
Rather than forming an, oeterminate structure, Celans multipl,ing refer-
ences appear through entropic interreactivit, as collision, explosion, trans-
formation, ano oisappearance. In Celan, as in Mikhael Bakhtins oialogics,
are interchange, permeabilit,, varoing, ano contest in a viloness of vola-
tile exchanges through the vhole panopl, of linguistic intercourses, vith
literature, culture, ano event collioing ano recombining vithout closure or
nalization. Celan enacts in l,ric the multiplicit, of contenoing oiscourses
that Bakhtin oescribes as penetrating ano shaping the novel. L,ric voros
are investeo as mutable ano volatile, permeable to surrounoing ano con-
testing bounoaries, vithin literature ano vithout literature, never settling
into s,stem but alva,s, as in the throv of oice, unpreoictable, hurtling in
open-enoeo courses.
9
Celans senses of the voro open his texts be,ono the literar, into vari-
ous elos of experience. As in the earlier, futurist avant-garoe, Celans vork
crosses boroers betveen oisciplines ano oiscourses in the arts ano sciences.
10
The entropic energies of this poems unpreoictable ano energetic collisions
anopropulsions, registereointhe throvof oice as itself a gure of unpreoict-
able ano propulsive courses, ma, recall, as Meir Sternberg has suggesteo,
Einsteins remark, Goo ooes not pla, oice vith the vorlo Clark :q:: 6q,.
This vas in response to questions of ranoomness, meaning, process, pre-
oictabilit, as emerging in contemporar, theories of statistical chance ano
8. Kristeva :q8o: , introouceo the term intertextuality in reference to the novel, vriting,
The ioeologeme of a text is the focus vhere knoving rationalit, grasps the transformation
of utterances into a totalit, the text, as vell as the insertions of this totalit, into the historical
ano social text.
q. Bakhtins theories of oialogical language of course vere oevelopeo mainl, vith the novel
in mino. Yet the, have important applications for poetr,, oespite Bakhtins ovn hesitation to
make this application in, for example, The Dialogic Imagination :q8:,: In genres that are poetic
in the narrov sense, the natural oialogization of the voro is not put to artistic use, the voro
is sucient unto itself ano ooes not presume alien utterances be,ono its ovn bounoaries.
Foetic st,le is b, convention suspenoeo froman, mutual interaction vith alien oiscourse, an,
allusion to alien oiscourse .8,.
:o. Ferlos Futurist Moment :q86, emphasizes this crossing of bounoaries, seeing avant-
garoe art as vorking to meet the challenge of the nev science |via| a raoical questioning of
existing mooes of representation , ano like the contemporar, oissolution of the bouno-
aries betveen art ano science, betveen literature ano theor,, betveen the separate genres ano
meoia :q,. Max Kozlo :q: ::o, similarl, sees the avant-garoe as bringing art into the
vave of invention, scientic oiscover,, critical thought, ano philosoph, ever,vhere trans-
forming mens consciousness of the ph,sical vorlo, its structure, energies, ano oimensions.
Wolosky

The Lyric, History, and the Avant-Garde 661
uncertaint, in quantum ph,sics. Or again: Celans Nichts, poiseo betveen
assertion ano negation, personication ano blino force, inserts into the text
ano inserts the text into a long histor, of negative theologies. Celans ovn
reinscriptions of Kabbalistic traoition situate this Nichts in the ruptures of
histor, as at once actor ano oenial, initiating agent ano penetrating ois-
tribution, blasphem, ano faith.
11
Chance is both impelling ano canceleo,
oroer is at once projecteo ano eaceo, ano outcomes are unpreoictable but
cursive, unforeseen but charteo. The elements of the poem thus become
strevn on language paths in vhich ongoing arguments about the congu-
rations of time ano vorlo intercross scientistic vith theological oiscourses,
ano the text becomes a force elo of language, a frail ano ,et impelling
project of shape ano mutabilit,, oirection ano oisoroer.
Wieviel Stumme? Siebenzehn. |Hov much speechlessness` Seventeen.|
The juxtaposition of speechlessness vith a number oool, oeforms the senses
of both, perforating the text vith silences that oef, calculation ano are at
once historical ano textual, vhile translating mathematical exactness into
enigma ano rune. Number is poseo as rioole, oool, retracting numera-
tions promise of specicit,. The puzzle of Seventeen must in fact be respecteo
rather than oispelleo, even vhile it impels the reaoer to conjectural inter-
pretation. One possibilit,: Seventeen ma, mark a moment of intersection be-
tveen personal biograph, ano public histor,. Celan vas seventeen ,ears
olo vhen, traveling to Irance to continue his stuoies, he passeo through
Berlin just at the moment of Kristallnacht Ielstiner :qq: :o,. Cr,stalline
structure in fact frames this poem from the opening image of sano to the
enoing image of snov. Or: Seventeen ma, fall short of the number eighteen,
vhich in Hebrev numerolog,vhere letters also have numerical values
that serve as interpretive basesalso spells life Chai ,, left incomplete here.
Eighteen, life, is a number cut o, a total misseo. A multiple pla, of lan-
guages, another mooe of Celanian cross- ano open-enoeo oiscourse, comes
almost invisibl, into the poems texture in this possible interface betveen
an asserteo German seventeen ano an eaceo Hebrev eighteen, as ooes the
numerological potenc, of the alphabet, vhere letters ano their numerical
values m,steriousl,, ano in Celan almost inoecipherabl,, spell the universe.
Hermetic textual pla, unravels or is propelleo into biographical ano his-
torical interruption: the truncation of life explooes into the incalculable
oestruction of the Secono Worlo War. The ver, materialit, of language be-
comes enmesheo in the fabric of vorlo making, its oroers implicating the
oroers ano oisoroers that invent ano unfolo our vorlo.
Celan inscribes number as inoecipherable. Yet he goes on into the con-
::. I have exploreo Celans use of Nichts in Wolosk, :qq.
662 Poetics Today 22:3
tinueo language of the poemano specicall, into the mooe of oialogue that
is, vith fragmentation itself, perhaps his most oistinguishing poetic marker.
Deine Fragedeine Antwort |Your question,our ansver.| No question
ano certainl, no ansver are specieo in this text other than the problem
of incompletion ano fragmentation that the poem enacts. Yet the phrases
take the form of aooress. The, are oirecteo from a speaker to an auoitor,
vhich vith Dein Gesang |,our song| makes a threefolo repetition of Dein
that exactl, matches or ansvers in number ano rh,me the opening three-
folo negation kein. This marks, inoeeo insists on, another rupture of textual
hermeticism. The poem is, raoicall, so in Celan, aooress ano act: The
poem can, as a manifestation of language ano consequentl, in its essence
oialogical, the poemcan be a message in a bottle. . . . Foems are on the va,
also in this manner, the, move tovaro something. Tovaro vhat` Tovaro
something that stanos open, something that can be occupieo, tovaro a re-
sponsive ,ou perhaps, tovaro a responsive realit, :q8, ::86,. Dialogi-
cal aooress launches a line of language in motion, incomplete ,et pointing.
Neither the aooress nor the poem constitutes knovleoge: Dein Gesang, was
weiss er? |Your song, vhat ooes it knov`| Dialogue ooes not constitute itself
full, or nall, in closure as traoitional ioeas of knovleoge might impl,. It
rather proposes aooress as launcheo in a questioning that risks incomplete-
ness or inoeeo erasure.
It is into erasure that this poem pursues its course. The last lines enact a
oisappearance that recurs through Celans later vork. The gure of snov
intensies the erasure it registers through its ovn oistribution ano oeforma-
tion vithin Celans vork, vhere it is often associateo, as in this text, vith
speechlessness, silence, oumbness Stumme,.
12
There is one poem that seems
particularl, close to Keine Sanokunst. In Unoerneath |Unten|, snov
takes shape as cr,stal in association vith oice:
Leo home, s,llable b, s,llable, oivioeo
among the oa,-blino oice
. . .
heapeo up arouno the small
cr,stal in the garb of ,our silence
|Heimgefuhrt Silbe um Silbe, verteilt
auf oie tagblinoen Wurfel
. . .
:.. See, for example, With Changing Ke, ano its image of Schnee des Verschwiegenen |the
snov of the silenceo| Celan :q8, :: ::., ano Homecoming |Heimkehr|, vhere a snovfall,
oenser ano oenser |Schneefall, dichter und dichter| threatens to bur, ein ins Stumme englittenes Ich
|an I slipping into oumbness| ibio.: :6,.
Wolosky

The Lyric, History, and the Avant-Garde 663
angelagert oem kleinen
Kristall in oer Tracht oeines Schveigens|
ibio., :: :,.
Snov emerges in imager, of chance, memor,, oissolution, ano recover,. In
this it is closel, associateo vith language. Yet snov is not therefore an ex-
emplum of Celanian language about language in a purel, self-reexive
sense Weinrich :qo: .::,. Rather, it images language as the funoa-
mental oimension in vhich the eort to make or no meaning takes place
vithin a fragile vorlothe congurations ano oisjunctions, signications
ano oisintegrations of relationships vithin the sequences ano oisjunctions
of experience.
Snov is a substance even more shifting ano ephemeral than sano. In
the poem Keine Sanokunst Mehr, snov takes shape as an image of the
most raoical linguistic oisappearance: deepinsnow vanishing into eeio.
The earlier challenge to knov was weiss er?, oissolves into this vhiteness
weiss,. The text comes to focus on the fragilit, of linguistic process, itself
in turn an image of fragile experience ano fragile eorts to negotiate ex-
perience. The text ma, in fact nall, trace a oefeat of language, linguistic
sequence as loss ano engulfment b, process, raoicalizeo in a oestructive his-
tor,. Yet even as oefeat Celans venture seems heroic. Celan voulo make
his meaning-va, not oetacheo from but through events, b, va, of a lan-
guage that, far from autonomous, is vulnerable to challenge ano to assault
at ever, moment.
Celans texts register then the severe experimentalism ano oislocation
conjoineo vith historical engagement that mark avant-garoe vriting. The,
oo so in va,s that clarif, the theoretical implications of the avant-garoe,
especiall, for l,ric theor,. As vith avant-garoe l,ric, Celans vork chal-
lenges notions of unit, of composition, of vholeness ano self-enclosure of
the artvork, oriving insteao to obliterate the oistinction, as Ferlo :q86:
, ..8, puts it, betveen the pictorial elo ano the real vorlo outsioe the
frame, unoermining notions of aesthetic oomain as uncontaminateo
b, the practical, |such| that the oroer of art is no longer opposeo to the
oisoroer of life. But this means retheorizing the funoamental implica-
tions of formal raoicalism. Even avant-garoe theorizing tenos to continue
to see fragmentation, contraoiction, oiscontinuit,, ano process through a
problematics of referentialit,.Techniques that throvattentiononto the con-
struction ano materials, the meoium ano meoiation of language are char-
acteristicall, construeo as suspenoing ano oisplacing reference, as vhen
Burger :q8: 8, oescribes avant-garoe as an art vhose components are
no longer signs pointing to realit,, the, are realit,. Yet Celans art belies
664 Poetics Today 22:3
Feter Szonois :q8: :6q, :8, aestheticist-s,mbolist interpretation of it as
vriting in the vake of the later Mallarm, thus making the poeminto its
ovn subject matter, such that language ooes not speak about something
but speaks itself. Inoeeo an ooo conuence runs through man, oiering
oiscussions, interpreting l,ric as self-reexive language that is essentiall,,
qua l,ric, nonreferential ano antimimetic. But it is this ver, opposition be-
tveen mimetic ano nonmimetic, compositional ano referential, a galax,
of signiers against a structure of signieos, as Rolano Barthes :q:
, puts it, that Celans art contests.
13
Celans is inoeeo a highl, self-reexive art, oramatizing its ovn construc-
tional proceoures. But this ooes not make it the self-encloseo poetr, of con-
stanc, that Szonoi :q8: :8,, for example, claims it to be.
14
Celan, rather
than opposing reference to formal proceoures, recongures, or rather clari-
es, their relationship. Rather than oetaching voros from referential, his-
torical structures to vithorav them into a self-referring art object, Celan
insists on the historicit,, temporalit,, ano in a specic sense the represen-
tational pover of the l,ric. He ooes so in several senses. His historicizeo
l,ric hanoles voros as fragile, permeable, ano vulnerable insteao of xing
it in an absolute compositional place vithin a composeo vhole. His l,ric
hanoles voros as oeformeo ano recongureo through historical usages ano
contexts, intertextual ano extratextual, vhose var,ing senses ano implica-
tions ricochet in the text, across oiscourses ano unnalizeo, situating au-
thor ano reaoer insioe particular historical moments as necessaril, framing
ano conoitioning aesthetic experience, incluoing the inscription of personal
biograph, in terms of public events. His central structure of l,ric as aooress
oramatizes the intensit, of encounter vithin the immeoiate moment, vith
the text an open negotiation vithin changing contexts of auoience.
But l,ric language represents historicit, not onl, through these intersec-
tions vith events, accumulations of usage, ano oiscourse crossings in chang-
ing environments of interchange ano aooress. L,ric language also serves
as a gure for historicit, as such, as the oimension of temporal change
:. This continuit, of interpretation across theoretical stances ano aesthetic topics is striking.
Thus Hugo Irieorich sees a funoamental continuit, betveen s,mbolists ano the apparent
variants of tventieth-centur, poetries :q6: :q:, in the va, the, all concentrate poetic
energ, exclusivel, on composition, so mooern poetr, evaoes recognition of an objective
realit, in the vorlo in a voluntar, oiminution of the importance of signieos ibio.: .o.,.
Feter Brookers Introouction to Modernism/Postmodernism :qq., similarl, groups mooern-
ism as formal innovation oeoicateo to artistic autonom, ., vith the avant-garoe as a
critique of realism ano vhat he calls a postmooern oetachment of image from reference
:,. His footnotes shov hov vioespreao ano consistent these claims are.
:. Szonoi :q8: :8, concluoes his essa, The Foetr, of Constanc, vith this image: Celan
thus proouceo a poem . . . vhose language is sheltereo in that ver, place that it assigns to
its subject matter, vhich is none other than itself: it is sheltereo in constanc,.
Wolosky

The Lyric, History, and the Avant-Garde 665
ano material relationship, transformations ano oeformations, erasures ano
constructions. It ooes so in its compositional structure, oispla,ing hov aes-
thetic representation is enacteo ano onl, takes place in terms of the materi-
als ano relationships of its constitutive signiers. In this sense Celan ooes
negate a signieo but not as a collapse of meaning or as a loss of refer-
ence. Rather, Celans vork oemonstrates ano highlights hovsignication is
an act of negotiation ano conguration vithin ano among the components
ano conoitions of time, materialit,, ano histor,, vhich language represents
not onl, referentiall, but also gurall,. Meaning emerges as congurations
ano oistributions ano their interreactivit,, generation, oisplacement, oirec-
tion, ano oisoroer. The text represents ano gures the conoitions, promises,
ano risks of experience in histor, in all of its collisions, conjunctions, oe-
feats, ano unpreoicatabilit,, its challenge to oesign, ano its impetus tovaro
meaning.
Celanian aesthetic in these va,s both exposes ano challenges vhat might
be calleo a metaph,sics of art. The aestheticist-formalist traoition remains,
as Foggioli :q6.: :q, asserts, structureo b, an attempt to transceno the
vorlo of the senses, to attain a superrealit, vhich is at once a sublimation
ano a negation of human ano terrestrial realit,, evioent in its oesire to oi-
vorce the ioea ano the gure, to annul in the last-mentioneo an, reference
to a realit, other than its ovn self.
15
But this metaph,sical aesthetic is one
that Celan repuoiates. His formal raoicalism is not intenoeo to constitute
an autonomous linguistic vorlo but rather to retheorize languages status
ano role in the construction of meaning vithin ano in terms of concrete ano
temporal experience. Thus his signif,ing project, hovever self-conscious,
ooes not plunge the vork into an absence of meaning through the loss of
the signieo, in the oe Manian sense. De Mans reaoing of Celan, as of
l,ric generall,, remains vithin a formalist aesthetic of the text as a cancel-
lation of representational meaningvhat oe Man :q8: :8, oescribes as
a language that seems to oer a representational unoerstanoing onl, to
oiscover that the unoerstanoing it reaches is necessaril, in error. Here, as
generall,, oe Mans is a oespair of the signieo, a nostalgia for the signi-
eo as the onl, structure of meaning, vhose loss, therefore, leaves nothing.
This, I voulo claim, is, in oe Man, a metaph,sical oespair.
But Celans is not a nostalgic loss of the signieo as a reference or mean-
ing nihilisticall, oissolveo into signif,ing process. The loss of the signieo
ooes not oefeat meaning. Meaning is traceo insteao through the signif,-
ing courses of language through the poem. Signicance emerges vithin the
:. See Foggiolis sections Metaph,sics of the Metaphor ano The M,stique of Furit,
:q6.: :q6.o6,. Compare Williams :q8q: ,, vho speaks of an intransigent ioealism, . . .
at best a noing of nev terms for the ineable.
666 Poetics Today 22:3
generation, impetus, propulsion, ano constellation of the signif,ing compo-
nents themselves. Historical ano temporal contingenc,, registration, pro-
pulsion, ano resistance are the realms ano proceoures of signication, their
promise ano their risk, ano l,ric represents ano negotiates this. Celans self-
consciousness as to hovlanguage constructs meaning inoeeo proposes lan-
guage as a self-reexive elo. But in pointing to itself the language of the
text points to the conoitions unoer vhich ve live in the vorlo ano attempt
to trace its meanings ano to the role of language in this eort. Language
points to its ovn historical resonances; to historical experience as trans-
forming ano marking language, even as language transforms ano marks
historical experience; to the mutabilit, of our eorts; ano to the fragile ano
linear tracings of our courses.
Celans vriting embraces histor,its events ano its conoitionsas the
sphere of, ano also the challenge to, meaning. That Celans attempt is frag-
ile, that the historical signthe sign as markeo b, histor,ma, inoeeo
be fractureo to the point of oisintegration, also are oeepl, oramatizeo in
Celans vork. But this is not to vithorav from histor, into the artvork as
its ovn pure self-reference in negation of realit,. It is, rather, to confront
histor, ano to reect its conoitions, even if this results in being oefeateo
b, it.
Wieviel Stumme? The poem raoicall, rests upon speechlessness, vhich
like nothingness Nichts, penetrates, inoeeo grounos, its linguistic project.
This speechlessness is not a transcenoence of language into realms be,ono
it ano is not a l,ric theor, that, as Irieorich :q6: :, proposes of l,ric gen-
erall,, seeks a transcenoence vhich no longer refers to an,thing. It rather
asserts the particular historical trauma of Celans ovn vriting ano our con-
tinueo reaoing of it ano also suggests our funoamental conoition, as ve
pursue our courses into uncertaint, ano risk, through voros that remain
both fragile ano compelling.
In this, Celan remains true to the avant-garoe project, conceiveo, as
Burger puts it, as an intent to reintegrate art in the praxis of life such
that not onl, ooes realit, in its concrete variet, penetrate the vork of
art, but the vork no longer seals itself o from it. Yet Burger proposes
a concomitant but contraoictor, move tovaro the autonom, of the aes-
thetic, a contraoiction Celans vork helps to overcome :q8: 6., 66, 86,
qo,. In Celan, reection on constitutive elements of art reects on experi-
ence: as reference, as contextual base, as conceptual frame, as circumstance
of proouction ano reception; it also raoicall, represents these as the conoi-
tions ve operate unoer ano through. Histor, as circumstance, contingenc,,
mutabilit,, accioent, oesire, ano oisaster is our conoition for signication,
ano signication is nothing other than the interreactive trajectories vithin
Wolosky

The Lyric, History, and the Avant-Garde 667
these conoitions.
16
These trajectoriesvhat Celan calls Atemwende Breath-
va,s,, the title of the volume in vhich Keine Sanokunst Mehr appears
take shape in language, raoicall, unoerscoreo ,et open ano unnalizeo.
Deine Fragedeine Antwort. Dein Gesang, was weiss er? The poems ques-
tions remain in man, va,s its most raoical imaging. Their aooress ano their
impetus are the threaos of possible signication. As Celan :q8: , :86,
concluoes in his Bremen speech, the poemis unoerva,: it makes for some-
thing. . . . The poem is not timeless . . . |but| seeks to grasp in ano through
timethat is: in ano through it, not over ano above it. It is aooresseo to
histor, as the conoition of our utterance ano our responsibilit,.
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