Real poems, Celan wrote, are “making toward something … perhaps toward an addressable Thou.” I would argue that, for any poet writing toward such a subject, regular words and syntax soon become inadequate. Celan is an extreme case though, because he also had to contend with the inadequacy of the German language to express the experience of the Jewish poet, post-Holocaust. […] Celan’s mother’s language was German. This German-speaking mother, who makes fitful enigmatic appearances in his poems, was shot by Germans. […] Celan chose to protest from inside German, in “death-rattling,” “quarreling” words. Though he spoke numerous other languages (Romanian, Russian, French), and though he had written previously in Romanian, he nevertheless decided to remain in German, which he broke and reclaimed. German, for Celan, was the language that had to “pass through its own answerlessness, pass through frightful muting, pass through the thousand darknesses of death-bringing speech.”
Why break a language? To wake it up. “We sleep in language,” writes Robert Kelly, “if language does not come to wake us with its strangeness.”
— Ilya Kaminsky, “Of Strangeness That Wakes Us”
I am reminded of the (Marie Howe sourced) Joseph Brodsky quote: “You think evil is going to come into your houses wearing big black boots. It doesn’t come like that. Look at the language. It begins in the language.”
























