Poetry
| To write poetry after Auschwitz is barbaric. And this corrodes even the knowledge of why it has become impossible to write poetry today. Absolute reification, which presupposed intellectual progress as one of its elements, is now preparing to absorb the mind entirely. |
| Prisms by Theodor W. Adorno |
German philosopher Theodor Adorno famously commented that "writing poetry after Auschwitz is barbaric", but he later retracted this statement. There are some substantial works dealing with the Holocaust and its aftermath, including the work of survivor Paul Celan, which uses inverted syntax and vocabulary in an attempt to express the inexpressible. Celan considered the German language tainted by the Nazis, although it is interesting to note his friendship with Nazi sympathizer and philosopher Martin Heidegger.
Poet Charles Reznikoff, in his 1975 book Holocaust, created a work intrinsically respectful of the pitfalls implied by Adorno's statement; in itself both a "defense of poetry" and an acknowledgment of the obscenity of poetical rhetoric relative to atrocity, this book utilizes none of the author's own words, coinages, flourishes, interpretations and judgments: it is a creation solely based on U.S. government records of the Nuremberg Trials and English-translated transcripts of the Adolph Eichmann trial in Jerusalem. Through selection and arrangement of these source materials (the personal testimonies of both survivor victims and perpetrators), and severe editing down to essentials, Reznikoff fulfills a truth-telling function of poetry by laying bare human realities, and horrors, without embellishment, achieving the "poetic" through ordering the immediacy of documented testimony.
In 1998, Northwestern University Press published an anthology, edited by Marguerite M. Striar, entitled Beyond Lament: Poets of the World Bearing Witness to the Holocaust, which, in poetry, defends the sentiments of the statement of Adorno, in a section entitled "In Defense of Poetry," and reinforces the need to document for future generations what occurred in those times so as to never forget. The book collects, in poetry by survivors, witnesses, and many other poets—well known and not—remembrances of, and reflections on, the Holocaust, dealing with the subject in other sections chronologically, the poems organized in further sections by topics: "The Beginning: Premonitions and Prophecies"; "The Liberation", and "The Aftermath."
Aside from Adorno's opinion, a great deal of poetry has been written about the Holocaust by poets from various backgrounds—survivors (for example, Sonia Schrieber Weitz) and countless others, including well-known poet, William Heyen (author of Erika: Poems of the Holocaust, The Swastika Poems,and The Shoah Train), himself a nephew of two men who fought for the Nazis in World War II.
Read more about this topic: Holocaust Literature
Famous quotes containing the word poetry:
“For me, poetry is always a search for order.”
—Elizabeth Jennings (b. 1926)
“Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are. A really great poet is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realise.”
—Oscar Wilde (1854–1900)
“Surrealism is not a school of poetry but a movement of liberation.... A way of rediscovering the language of innocence, a renewal of the primordial pact, poetry is the basic text, the foundation of the human order. Surrealism is revolutionary because it is a return to the beginning of all beginnings.”
—Octavio Paz (b. 1914)