By Antony Rowland
This e-book analyzes Holocaust poetry, warfare poetry, working-class poetry, and 9-11 poetry as sorts of testimony. Rowland argues that testamentary poetry calls for a distinct method of conventional methods of facing poems as a result of the strain of the metatext (the unique, tense events), the poems’ calls for for the hyper-attentiveness of the reader, and a paradox of identity that frequently attracts the reader in the direction of choosing with the poet’s adventure, yet then reminds them of its sublimity. He engages with the paintings of a various variety of twentieth-century authors and around the literature of a number of nations, even uncovering new archival fabric. The examine ends with an research of the poetry of Sep 11, enticing with the concept it typifies a brand new period of testimony the place international, secondary witnesses react to a proliferation of media pictures. This booklet levels around the literature of numerous nations, cultures, and ancient occasions with a view to pressure the massive number of contexts within which poetry has functioned productively as a kind of testimony, and to notice the significance of the supply of translations to the formation of literary canons.
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Extra resources for Poetry as Testimony: Witnessing and Memory in Twentieth-century Poems
191). The latter phrase denotes a stubborn will to witness, but also indelicacy. ‘How should we see our task [ . . ’ is answered by the poem itself in the ﬁ nal stanza, with the poetic tradition of the elegy, not the articulacy of infantrymen. 22 Unlike the exaggerated dichotomy in the poem, Owen sometimes presents himself as rather like the insensible infantry: in a letter to Susan Owen (7 January 1917), he cannot tell her ‘any more Facts. I have no Fancies and no Feelings. Positively they went numb with my feet’ (p.
5), and some veterans were determined ‘to commemorate their more positive version of the war’, ‘from the inter-war years through to the 1960s’ (p. 194). In the fourth stanza, Owen connects this ‘godly’ laughter of the troops to the poet-ofﬁcer, who, momentarily celebrated after an action, is greeted with their ‘passion of oblation’ (p. 187). However, the poem then distinguishes between the poet-officer and troops in the last two stanzas. Owen demands that readers refrain from trusting his vicarious testimony in diction similar to Levi’s meta-testimonial poem ‘Shemà’, and John Jarmain’s ‘These Poems’ (which I discuss in Chapter 3).
Stolen from Zauna [ . . ] young, pretty SS men from crematorium eins as well as zwei, drei, vier, and fünf [ . . ] there go the beautiful girls [ . . ] they smile tenderly and sink their eyes into a Negro [ . . ]48 ‘Homecomings’ and ‘A Walk through Munich’ are illustrative of Borowski’s post-liberation poems that reject the ‘Bullshit’ of the lyrical form in favour of a journalistic style that conveys the urgency of recounting (and embellishing) what Borowski terms in another poem the ‘ﬁshtank of blurred events’ 38 Poetry as Testimony in liberated Europe (p.
Poetry as Testimony: Witnessing and Memory in Twentieth-century Poems by Antony Rowland
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