In the Editorial to the current issue (71) of Tears in the Fence I have quoted from Michael Heller’s autobiographical account of his early years, Living Root, A Memoir (S.U.N.Y. 2000) and as I look at the elegiac exactness of Peter Huchel’s poems as translated by Martyn Crucefix I am struck again by what I had read from the American poet’s concern for the “ritual forms and objects” associated with his Jewishness:
“As a child in the early nineteen forties, six or seven years old in Miami Beach, even as I sat, sunk deep in the velvet plush seats of Temple Emmanuel on Washington Avenue, feeling the rapture of the ritual occasions, I sensed I was climbing a cliff face, the very physiognomy of otherness, the pathways of memory by which I skirted the fragile edging of the present.”
Remembering his grandfather, a rabbi and teacher, he recalled how “all ceremonies were woven into one continuous chant, a swift, impelled, if muffled, music”. Heller then went on to recall his father’s more secular concern for the seriousness of each word as though he “tried to feel its exactness, like a solid object held in his mouth”.
The reason for my recalling the focus upon that exactness of particular observation was Karen Leeder’s introduction to these fine and moving new translations of Huchel’s poetry in which she refers to the German poet as being committed to the “particularity of things”:
“…he is a poet for whom every word seems to be wrested from and threatened by silence.”
Huchel’s poetry has resonances of “voices, / sent on ahead through sun and wind” and in the title poem ‘These Numbered Days’, a title taken from the Book of Isaiah, he offers us a sense of measured loss:
“and the rattling wake of leaves,
before the river
stows fog among the reeds.”
Peter Huchel is a poet “for whom every word seems to be wrested from and threatened by silence” (Leeder) and among the numbered days of an irretrievable past we are urged to put aside the very particularity which the poet’s lyric skill can magically create:
“So forget the town,
where under hibiscus trees
the mule is saddled in the morning,
its girth tightened, saddlebags full,
women gathering round the kitchen stove,
where wells slumber still in rain.
Forget the path,
stunned by the odour of philadelphus,
the narrow doorway,
where the key lies under a mat.”
Commenting upon the poem ‘The Dipper’, that water-bird which seeks its food below the surface of the pond, Karen Leeder draws our attention to the poet’s reaching down to the roots that connect the natural world with a “darker realm, of earth, death, and memory”. She salutes the translator’s powerful ability to communicate to us the fetching back of something “that will counter the misery of the moment.”
This retrieval of particularity from beneath the surface, the seeking of what is below the water, is haunted throughout these poems by the image of drowning. It is no mere chance that a poem ‘On the Death of V.W.’ (Virginia Woolf) should appear so close to one which is titled ‘Ophelia’ and that the deeply moving elegy addressed to ‘M.V.’ (the poet’s father) should open with a vanishing beneath the waves:
the room is empty,
the oven cold,
the bottles crane their necks.
He left nothing behind
as if a footprint in sand,
a spill of ice in winter.”
In the introduction we are alerted to some biographical details of Peter Huchel’s life and the way in which he fell victim to the division of Germany after 1945:
“As a consequence, his writing life was pitched against the twin threats of silence and political dogma, notably during the years he spent in the former GDR, or East Germany.”
It might also be pertinent here to recall that other great writer from East Germany, Christa Wolf, whose Model Childhood brings to the surface the alarming thought that “an unused memory gets lost, ceases to exist, dissolves into nothing”. And as if to echo these words we have what Leeder heralds as one of the significant qualities of Martyn Crucefix’s abilities as a translator:
“The exquisite sound echoes in Martyn Crucefix’s translation (dipper, flowing, pick, fish, relinquish) seem to ripple through the poem like the dipper through water. Then there is the sleek reaching down through darkness, undergrowth, roots, water, stones, to the core of things to fetch up something perfect, a word.”
Ian Brinton, 16th March 2020
Reblogged this on The Wombwell Rainbow.
Shearsman are publishing extraordinarily good translations at the moment of writers barely heard of in English speaking countries and have a range unlike any other publisher that I know of – Peter Huchel’s book is one of my books of the year – note also Gëzim Hajdari’s ‘Bitter Grass’ translated by Ian Seed.
Reblogged this on Martyn Crucefix and commented:
Many thanks to Ian Brinton and ‘Tears in the Fence’ for this review.
In the (translated) Huchel poem excerpts above, I notice the absence of adjectives and adverbs. In a poetry workshop I attended years ago with the respected Canadian poet Patrick Lane, he taught “The strength of poetry comes from nouns and verbs rather than adjectives and adverbs” , , , and here it is, fully demonstrated.