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Paul Celan and Yvan Goll to the Editor: I Read with Interest and Dismay Yves Bonnefoy’S Essay “Why Paul Celan Took Alarm” (125.1 [2010]: 204–12)

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Paul Celan and Yvan Goll to the Editor: I Read with Interest and Dismay Yves Bonnefoy’S Essay “Why Paul Celan Took Alarm” (125.1 [2010]: 204–12) [ PMLA Forum Paul Celan and Yvan Goll To the Editor: I read with interest and dismay Yves Bonnefoy’s essay “Why Paul Celan Took Alarm” (125.1 [2010]: 204–12). While I do not wish to add to Barbara Wiedemann’s weighty, 925- page documentation of the “Goll affair” Paul( Celan—Die Goll- Affäre), which discusses Claire Goll’s ac- cusations that Paul Celan plagiarized the work of her deceased husband, Yvan Goll, I would like to correct a few misstatements in the essay and its introduction that devalue Yvan Goll and his work. Goll was blame- less in the affair, having died before it began. By pointing out these in- accuracies, I hope to shed light on this poet and recalibrate the lens through which we see his vast but relatively unknown body of work. In John Felstiner’s introduction to the Bonnefoy essay, Felstiner writes that Goll, “allied with surrealism, had translated Joyce’s Ulysses PMLA invites members of the association to submit letters that comment on ar- into German and dealt in themes of loneliness and Jewish wandering” ticles in previous issues or on matters of (204). Goll knew Joyce, and he collaborated with Joyce, Beckett, and general scholarly or critical interest. The several others in translating “Anna Livia Plurabelle” into French, but editor reserves the right to reject or edit he did not translate U l y s s e s into German. This can be confirmed by Forum contributions and offers the PMLA the omission of any Goll translation of U l y s s e s in Andreas Kramer and authors discussed in published letters an Robert Vilain’s Yvan Goll: A Bibliography of the Primary Works (2006). opportunity to reply. Submissions of more In addition, the Swiss- German publisher Rhein- Verlag conducted a than one thousand words are not consid- contest to find the first German translator of Ulysses, and after Georg ered. The journal omits titles before per- Goyert won the contest, Rhein- Verlag, with whom Goll was associated, sons’ names and discourages endnotes published Goyert’s translation of Ulysses in 1927, following it with a and works-cited lists in the Forum. Let- ters should be e-mailed to pmlaforum@ trade edition in 1930. mla .org or be printed double- spaced Felstiner writes in his introduction, “One afternoon in 1949 when and mailed to PMLA Forum, Modern Celan was visiting Bonnefoy, an Alsatian Jewish writer unknown to Language Association, 26 Broadway, 3rd them [Goll] showed up unannounced at the door. In November of floor, New York, NY 10004-1789. that year, Celan visited Goll, who was dying in a Paris hospital. Goll 1096 [ © 2010 by the modern language association of america ] 125.4 Forum 1097 ] took to Celan and his poetry. He began writing chiefly in French. (He is Alsatian.) His last vol- again in German and asked Celan to translate ume ‘Élegie d’Ihpétong’ suive de ‘Masques de his French poetry” (204). On this point, Bon- Cendre.’ Illustrated with four original litho- nefoy relates in his essay that “if there had been graphs by Pablo Picasso. Iwan Goll knows all any borrowing it would have been done by Goll: the greats of our time. Rilke. Joyce. Picasso. All. Paul read his own poems to Goll . when he And with that he is modest. And deathly ill: per- visited the hospital where the old man was dy- nicious anemia, blood decomposition.” ing but also writing again in German, influ- On 13 December 1949 Goll entered the enced by his new friend” (208). American Hospital in Neuilly, where he re- In fact, Goll had begun to write poems in mained, undergoing an appendectomy and great German during the spring of 1948, after his re- physical suffering, until his death on 27 Febru- turn to France on 4 June 1947 from his wartime ary 1950. Celan accompanied Claire Goll to the exile in New York. This was a year before he hospital on 14 December and tried to give blood met Celan in an impromptu visit to Bonnefoy to Yvan, but, not having the correct blood type, in 1949. In a letter written on 23 March 1948, he was rejected. This “old man,” Yvan Goll, died Goll shared his excitement at writing again in when he was fifty- eight years old. German with Alfred Döblin, the editor of the I respect Yves Bonnefoy’s defense of his monthly journal Das goldene Tor, to whom he close friend Paul Celan’s “psychic travail,” his submitted several of his new German poems: search to understand why Celan could “never “After a twenty- year departure I have returned shake off the memory of the slander” (207, 208). to the German language, with that devotion In positing that “[n]o plagiarism is possible in and delight in renewal, almost with trepidation. poetry,” Bonnefoy himself parries the main Surrealism has gone through me and deposited thrust of Claire Goll’s attacks on Celan’s work its salts. Yet it is as if this dreamweed plant were (209). Can we not stop broadcasting the Goll for me a new birth.” Five of the poems Goll sent affair and return to the writing, the poetry, of both men? to Döblin appeared in the May 1948 issue of Das Yvan Goll’s path through a life of suffering goldene Tor under the pseudonym Tristan Thor. and his recording of that journey among the They were also published posthumously in 1951 best poets, painters, musicians, and artists of his in his collection of poems Das Traumkraut. day were different from Celan’s but no less wor- If Celan and Goll first met in 1949, then thy than his of respect. It is important to recog- clearly it was not Goll’s new acquaintance, the nize that the fallout from the Goll affair—the twenty- eight- year- old Celan, who inspired Goll (perhaps unintended) slights and inaccuracies to write again in German. Rather, it was “dieses concerning Goll—has kept the distinctive and Traumkraut” (“this dreamweed”), which ap- varied work of this soulful poet in obscurity, peared to him after he had been diagnosed with particularly in the English- speaking world. leukemia in 1945, in New York, that beckoned him to compose his anguished poems in Ger- Nan Watkins man in the spring of 1948. Western Carolina University After meeting Goll at Bonnefoy’s home, Celan arranged to call on the Golls in Paris one Sunday afternoon, 6 November 1949, at their Reply: home in the Hôtel Palais d’Orsay, bringing Claire In response to Nan Watkins’s remarks, I a gift of eight red roses. Celan describes that visit wish to clarify several points. (which Goll noted in his diary) in a 12 November I never said or thought that Yvan Goll be- letter to Erica Lillegg: “Last Sunday I visited Iwan gan to write again in German after having met Goll. A true poet. A Mensch. The first whom I Paul Celan. It is only that Goll’s German poems meet in Paris. Earlier he wrote in German, now from this period could (hypothetically) have 1098 Forum [ PMLA been influenced by the ones that Paul was then Stewart, Anne Carson, Virginia Jackson, and writing and that he read to Goll. N. Katherine Hayles spring to mind. McGann in I never said or implied that Goll accused particular has been at the forefront of theoriz- his new friend of plagiarism. He was dead when ing new ways to relate textual criticism and edi- Claire, his wife, made this accusation. torial theory to literary interpretation (see esp. My essay, moreover, is not a study of the re- The Textual Condition and Radiant Textuality) lation between these two poets but a reflection and has been pulling his hair out over why this on the very different, more general question of relation has yet to catch on more broadly (The plagiarism in poetry. Scholar’s Art and The Point Is to Change It). Yvan Goll was not unknown to me when I’m bewildered over why these “rediscover- he visited me in 1949. I had Le nouvel Orphée ies” of philology are dead set on looking back- (1923) in my library. I just didn’t know anything ward. The critics I mention above represent the about his recent life. foresight of philology and philological methods (e.g., their relevance to the so- called new media, Yves Bonnefoy their use of the materiality of texts to reconsider Paris conceptions of genre), whereas the Romance philologists Michelle R. Warren trots out in her introduction, Erich Auerbach and Ernst Robert The Uses of Philology Curtius (though, curiously, not Leo Spitzer), To the Editor: represent philological hindsight. Even the more I’ve thought to myself on several occasions recent critics Warren invokes, Edward Said and that it is a shame most academic journals do Édouard Glissant, understand philology ret- not set space aside for readers’ letters. Perhaps rospectively, not as a means to develop novel few readers think to write a letter. The average modes of investigation and interpretation but reader of an academic journal—I prefer to think as a way to bolster what they (and by a certain of myself as a scavenger—is an academic, so the logic we) are already doing. appropriate response to an article would be to Nowhere is this more evident than in the compose one’s own and thereby demonstrate thematic link Warren provides for the articles through detailed analysis where the article un- in the cluster: “the ways that they excavate and der consideration is deficient and supplement activate silence” (286).
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