Pierre

Amos translated almost all of Fadensonnen, apart from about 12 poems missing in the middle, plus 24 poems from Lichtwang - which were published in Calque 5 (Spring 2009) - his mother had sent the MS to his first wife, the novelist Sandra Newman, after his death. She was very unhappy with Ms Newman's statements about Amos, and also that the publication ignored the issue of rights - she had in her youth worked for Suhrkamp, and took the role of such a serious (ie non-Anglo/American) publisher very seriously. I will put a couple of the translations temporarily on the website as publicity for Amos's writing shortly - and if you are interested in reading more, I can email them to you back-channel (& a copy of Erna Weiss's very annoyed letter to Brandon Holdquest of Calque.)


best wishes

Peter


On 9/8/2016 7:38 PM, Pierre Joris wrote:
[log in to unmask]" type="cite"> Peter — which Celan poems de he translate & where were they published exactly? I’d love to have those details —
Pierre

On Sep 8, 2016, at 1:54 PM, Peter Philpott <[log in to unmask]> wrote:

Hi everyone

This is to announce a forthcoming event publicising Amos Weisz’s posthumous selected poems, Worksongs. There’s an event at i'klectik near Waterloo on November 4 as a launch. Great Works has just been refreshed, with the translations and original work by him published some year ago on it foregrounded, and some information on him. More of his poems will follow on a weekly basis until the launch event, and the book will be available from Great Works and possibly Amazon shortly.

You are unlikely to know Amos Weisz’s work – in his lifetime he had a small self-published booklet, some texts (mainly translations) on Great Works, and a few of his Celan translations published in a New York-based magazine. I’ll put up an Amos Weisz Facebook page shortly, do an event page for the reading etc, as well as more of his writing on Great Works.

It is a serious poetry, written through his life, and with engagement with a range of contemporaries and other influences. It also is situated in Amos's own psychological space, one of woundedness and extremes, in which a birthright is fought with and fought over. It is never easy or something as stupid as seductive, but can switch from the finest gallows humour to disgust and abjection in an instant. The verbal creativity and level of semantic activity is constantly astonishing.

I'll, I'm afraid, keep youse all updated on what is happening with the launch, and my making available of specimens of Amos's writing. (This sentence my contribution to the current debate on posthumous recognition (unlikely, I'd say) which has segued into dialect: I use youse because I likes it, and it's an available choice in British English; no claims of some originating ur-sprache  inspiring my utterances - make it up as you go along is best.)

best wishes

Peter Philpott