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Very Good. Size: 5x0x7; Softcover. Very Good condition. Free of any markings and no writings inside. Clear Text. Minor shelf-wear. Foxing on edges. Sunning on cover. For any additional information or pictures, please inquire.
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Durango. 1983. Logbridge-Rhodes. 1st American Edition. Very Good in Wrappers. 0937406279. Translated from the German by Christopher Middleton. Edited & With An Introduction by Frank Graziano. 128 pages. paperback. keywords: Literature Poetry Germany Translated. FROM THE PUBLISHER-From the introduction-‘And one always is thrown back upon words or, better expressed, upon terrible helplessness. '-Trakl. Harold Bloom has reminded us of the etymological relationship between ‘meaning' and ‘moaning'; ‘a poem's meaning, ' he argued, ‘is a poem's complaint. ' ‘Complaint, ' however, misses the mark when dealing with a poem by Georg Trakl; it suits only poets whose work gives priority to what a word says over what a word is, to the chatter of signification over the fullness of diction not dependent primarily upon meaning. Anne Sexton complains, Georg Trakl does nothing short of moan. Meticulous listeners know that it is precisely a fundamental lack, a nucleus of absence often signalled by the break in the tone of a moaner's voice, that endows a moan with emotional impact, with meaning. When the bottom falls out of a voice we listen, we attend quickly to what-is-missing. Kojeve has quite deftly defined desire as the presence of an absence; moans (be they voiced or poetic) are the intonation of that presence. We are enticed by the beance of moans and thus engage in the plea their longing wagers, in their desire-as Hegel would have it-to make their desire recognized. The moaner, like the analysand, like Trakl, enjoys a degree of relief and gratification merely by making his private gloom public, by objectifying the antithesis of his lack and drawing the listener inside it. Any moan, until it runs out of breath, grants reprieve from a painful silence, ‘The silence of decayed crosses on the hill. ' The moans most meticulously formalized into poems, ironically, seem almost to breathe back into their own hollows-to engender their own inspiration and sustenance-and thus long survive the author they failed. One can devour a doughnut, Osip Mandelstam once said out of the side of his mouth, but the hole will remain. Trakl criticism has devoured the doughnut. Georg Trakl was a poetic genius precisely because he was insane enough to unwittingly author texts too elusive to accommodate systematic exegeses or compact formulae, texts that, more than anything, attempt to rectify the absence that bore them and that therefore are best defined, like doughnuts, by what they lack. inventory #25515.
