Requiem auf einer Stele (twelve fragments)
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"Requiem auf einer stele" has been written over a few years stay by the woods. It's the water-sensitive song of a river stone, heard at intervals in the dark. Three main languages get combined into one wordscape, to give relief to the drowned voice of both the living and the dead, and meet the breath trapped in the world's finest gaps. As the author states: "How unspeakable Physics is! How shall we carry the stone?" (Anne Harket). If poems are supposed to be well-trimmed pieces of writing, "Requiem auf einer Stele" is a successful attempt to give a different outline to poetry itself. The use o...
"Requiem auf einer stele" has been written over a few years stay by the woods. It's the water-sensitive song of a river stone, heard at intervals in the dark. Three main languages get combined into one wordscape, to give relief to the drowned voice of both the living and the dead, and meet the breath trapped in the world's finest gaps. As the author states: "How unspeakable Physics is! How shall we carry the stone?" (Anne Harket). If poems are supposed to be well-trimmed pieces of writing, "Requiem auf einer Stele" is a successful attempt to give a different outline to poetry itself. The use of a variety of well balanced languages simultaneously reminds the reader of Heaclitus: if we can't step in the same river twice, we can't speak the same word in two different languages (Michael Breton). As in a primal, untamed myth, the work of an unkown river has shaped this long poem, which is now consigned to the reader as the final revelation to a dying man (Dieter Möller).
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