In the work of the most important contemporary representative of German hermetic poetry, Paul Celan, the experiential content of the hermetic was inverted. His poetry is permeated by the shame of art in the face of suffering that escapes both experience and sublimation. Celanās poems want to speak of the most extreme horror through silence. Their truth content itself becomes negative. They imitate a language beneath the helpless language of human beings , indeed beneath all organic language: It is that of the dead speaking of stones and stars. The last rudiments of the organic are liquidated; what Benjamin noted in Baudelaire, that his poetry is without aura, comes into its own in Celanās work. The infinite discretion with which his radicalism proceeds compounds his force. The language of the lifeless becomes the last possible comfort for a death that is deprived of all meaning. The passage into the inorganic is to be followed not only in thematic motifs; rather, the trajectory from horror to silence is to be reconstructed in the hermetic works. Distantly analogous to Kafkaās treatment of expressionist painting, Celan transposes into linguistic processes the increasing abstraction of landscape, progressively approximating it to the inorganic.
Theodor W. Adorno, Aesthetic Theory, trans. R. Hullot-Kentor. (via bildungstrieb)
