Bøger af Georg Trakl

For første gang i tyve år er Georg Trakls visionære og indflydelsesrige lyrik igen tilgængelig på dansk, her i Rolf Gjedsteds gendigtning. Den østrigske forfatter Georg Trakl – en af den tysksprogede ekspressionismes betydeligste digtere – skrev i sit korte liv omkring 100 digte, der udkom enkeltvis i avangardetidsskriftet Der Brenner. Først senere kom de i egentlige samlinger. I sine tekster skaber Trakl en særegen visionær verden, hvor farvemættet forfald, hårdhed og voldsomhed står i kontrast til små scener af forløsning og ro. Trakl var ikke kendt i sin samtid, men hans lyrik har haft stor indflydelse på digtere som Ingeborg Bachman og Paul Celan og har inspireret danske digtere som Michael Strunge og Søren Ulrik Thomsen. Sebastian i drømme udkom i foråret 1915, knap et halvt år efter digterens død. Med denne nyudgivelse er Trakls poetiske vision atter tilgængelig for danske læsere. Pressen skriver: "Det kan være svært at få hænderne ned af ren begejstring over forlaget Rosinantes flotte og imponerende klassikerserie. Klaus Mann, Primo Levi, Elie Wiesel, Joseph Roth, Stefan Zweig, Virginia Woolf, Emily Brontë, Georges Perec er nogle af de mange forfattere, hvis bedste bøger er udgivet som klassikere. At den bogserie endnu ikke har vundet hæder og priser er helt uforståeligt. Nu udkommer så, ganske vist i et lidt andet format, Georg Trakls Sebastian i drømme i Rolf Gjedsteds gendigtning af et af den tyske ekspressionismes absolutte hovedværker." - Information

Georg Trakl (1887-1914) er en af de vigtigste tysksprogede lyrikere. Eftertiden har især været fascineret af den uforvekselige Trakl-tone og det gådefulde indhold. Efter at have læst nogle af digtene skrev Ludwig Wittgenstein, at han 'ikke forstod dem, men at tonen gjorde ham lykkelig'. Dette er den mest omfangsrige oversættelse af Trakl til dansk. Samlet 115 digte og 93 breve oversat af Ejler Nyhavn fra den nyeste historisk-kritiske udgave. Efterskrift af Adam Paulsen. Tegning af Christian Lemmerz.Georg Trakls forfatterskabet består ikke af mere end to digtsamlinger og et antal posthumt udgivne digte, hvoraf størstedelen er skrevet mellem 1912 og hans død i 1914. Det var, hvad Trakl selv anså for gyldigt. Hvad der derudover findes af materiale, fordeler sig på et stort antal varianter til disse digte, nogle udgivne såvel som uudgivne tekster fra før 1912 – herunder en færdig digtsamling fra 1909, han selv betragtede som umoden, og som først blev udgivet i 1939 – samt et mindre antal fragmenter af forskellig karakter. Dertil kommer korrespondancen, hvoraf en del ikke er på meget mere end et par linjer og ingen overstiger nogle få håndskrevne sider. Hovedparten af Trakls digte kredser om ganske få motiver og gør brug af et begrænset repertoire. Det er det samme ensemble af farver og figurer, elementer og landskaber, mytologiske referencer og symboler, der gennemstrømmer hele værket.Hvad der især har fascineret eftertiden, er kombinationen af den uforvekslelige Trakl-tone og det gådefulde indhold. At de to aspekter af værket hænger uløseligt sammen, var man allerede opmærksom på i Trakls samtid. Ludwig Wittgenstein, stiftede bekendtskab med Trakls digte og skrev efterfølgende, at han ‘ikke forstod dem, men at tonen gjorde ham lykkelig’, også Rainer Maria Rilkes reaktion på "Sebastian i drømmen" peger i samme retning. Han har, hedder det i et brev, læst meget i Trakls sidste digtsamling og er først og fremmest "grebet, forbløffet, anende og rådvild". Rilke forestiller sig, at selv en, der har kendt ham godt, må føle det, som om han erfarer disse "udsyn og indblik" med ansigtet presset mod ruden, udelukket fra helt at forstå, fordi Trakls oplevelser "forløber som i spejlbilleder og fylder hele hans rum", der derfor ikke kan betrædes, "som rummet i et spejl". Det er ikke nogen dårlig beskrivelse af, hvordan Trakl kan virke på læseren. Man drages af digtenes tone, versenes sælsomme skønhed og melankoli, og man aner klangbunden, sammenhængen og dybden i dem.

Dieser Auswahlband versammelt alle wichtigen Werke des exzeptionellen Lyrikers Georg Trakl, dessen Wirkung auf die ihm nachfolgenden Dichtergenerationen seit über einhundert Jahren anhält und stetig wächst; ein Einfluss, der gar nicht überschätzt werden kann. Trakls Dichtungen sind legendär sowohl in formaler als auch in inhaltlicher Hinsicht. Sonette, durchstrukturierte freirhythmische Gebilde, Strophen mit drakonischer Verszahl und vieles mehr. Untergang und Rettung streiten häufig miteinander. Seine exorbitante Symbolsprache kombiniert Bizarres mit ungewöhnlichen Farben und Klängen. Synästhetisch auch Odeur und keineswegs zu vergessen: Schweigen.

Über den schwarzen Winkel hasten Am Mittag die Raben mit hartem Schrei. Ihr Schatten streift an der Hirschkuh vorbei Und manchmal sieht man sie mürrisch rasten. O wie sie die braune Stille stören, In der ein Acker sich verzückt,

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This richly illustrated catalogue features recent paintings and works on paper by the artist, as well as an extract from Georg Trakl's A Golden Chalice.

Am Abend, wenn die Glocken Frieden läuten, Folg ich der Vögel wundervollen Flügen, Die lang geschart, gleich frommen Pilgerzügen, Entschwinden in den herbstlich klaren Weiten. Hinwandelnd durch den dämmervollen Garten Träum ich nach ihren helleren Geschicken Und fühl der Stunden Weiser kaum mehr rücken. So folg ich über Wolken ihren Fahrten. Da macht ein Hauch mich von Verfall erzittern. Die Amsel klagt in den entlaubten Zweigen. Es schwankt der rote Wein an rostigen Gittern, Indes wie blasser Kinder Todesreigen Um dunkle Brunnenränder, die verwittern, Im Wind sich fröstelnd blaue Astern neigen.

Georg Trakl (1887-1914) is commonly seen as one of the leading figures of the Austro-German expressionist movement in literature during the early part of the twentieth century. Marked by the perpetual use of nightmarish visions of disintegration, death, murder, and natural decay, his poems bear haunting witness to a world devoid of faith, meaning, and hope. Nevertheless, Trakl still captures glimpses of beauty in this wasteland, a beauty he usually equates with erotic or familial relationships, a beauty that in his view can only be seen in contrast with death and horror.

A comprehensive English-language edition of verse by the Austrian poet An undeniable aura surrounds the name of Georg Trakl, a poet of intense inner vision and originality whose work stands alongside that of Yeats, Valery, and T. S. Eliot. Besides Rilke, his more famous admirers include Karl Kraus and Martin Heidegger. The distinctive tone of Trakl's work-especially admired by his patron Ludwig Wittgenstein-is autumnal and melancholy. Trakl was writing at a time of spiritual and social disintegration on the eve of the First World War, when personal values and perceptions tended to be subsumed in a more generalized anguish and exaltation. Neo-romantic, early modernist, his rich, vitally sensuous poetry can be seen to mark the transition from impressionism to expressionism, but at the same time transcends such categories. Trakl's poetry has previously only been available in English in short selections or in anthologies. This bilingual edition, the most comprehensive to date, gives readers the chance to get to know Trakl's work more fully than ever before.

Inhalt: • Italien (Adolf Friedrich von Schack) • Erinnerung an Italien (Alfred de Musset) • Venedig (Alfred de Musset) • Berliner in Italien (Alfred Henschke) • Deutscher in Italien (Alfred Henschke) • Venedig (Alfred Henschke) • China in Italien (Anastasius Grün) • Venedig (Anastasius Grün) • In Verona (Alfred Meißner) • Nördliches und südliches Italien (August von Platen) • Venedig (August von Platen) • Italien im Frühling (August von Platen) • Venedigs erster Tag (Conrad Ferdinand Meyer) • In Italien (Demetrius Schrutz) • Abendfeier in Venedig (Emanuel Geibel) • Aus Venedig (Emil Peschkau) • Das mittelalterliche Italien (Franz Binhack) • Italien (Franz Grillparzer) • Venedig (Franz von Werner) • Zwar, mein Italien, bleiben, was wir sagen (Francesco Petrarca) • Venedig (Friedrich Hebbel) • Venedig (Friedrich Nietzsche) • Abschied von Italien (Georg Friedrich Treitschke) • In Venedig (Georg Trakl) • An Italien (Giacomo Leopardi) • Italien (Gustav Pfizer) • In Italien (Heinrich Lersch) • Fragment aus Italien (Heinrich Leuthold) • Im Feldspitale zu Verona (Hermann von Gilm zu Rosenegg) • Mein Venedig (Isabelle Kaiser) • Italien (Isolde Kurz) • Das ist Italien, das ich verließ... (J.W. Goethe) • Abschied von Italien (Johann Gottfried Kinkel) • Italien (Josef Huggenberger) • Durst in Venedig (Joseph Victor von Scheffel) • An Italien (Karl Henckell) • Auf die Wiederkunft des Kaisers aus Italien (Karl Mastalier) • Das Amphitheater in Verona (Karl Zettel) • Venedig - VIII. (Moritz Graf von Strachwitz) • Rom und Italien (Paul de Lagarde) • Verona (Paul Heyse) • Venedig (Paul Heyse) • Ancona (Paul Heyse) • Parma (Paul Heyse) • Pisa (Paul Heyse) • Venedig (Rainer Maria Rilke) • Goethes letzte Nacht in Italien (Stefan George) • Sonnenaufgang in Venedig (Stefan Zweig) • Der Traum von Venedig (Theodor Däubler) • Oh Farbenstadt Venedig, dir zu Füßen (Theodor Däubler) • ...

Collected Poems gathers Trakl's early, middle, and late work, ranging widely, from his haunting prose pieces to his darkly beautiful poems documenting the first bloody weeks of World War I on the Eastern Front.

The work of poet Georg Trakl, a leading Austrian-German expressionist, has been praised by many, including his contemporaries Rainer Maria Rilke and Else Lasker-Schüler, as well as his patron Ludwig Wittgenstein. Wittgenstein famously wrote that while he did not truly understand Trakl's poems, they had the tone of a "truly ingenious person," which pleased him. A Skeleton Plays Violin comprises the final volume in a trilogy of works by Trakl published by Seagull Books. This selection gathers Trakl's early, middle, and late work, none of it published in book form during his lifetime. The work here ranges widely, from his haunting prose pieces to his darkly beautiful poems documenting the first bloody weeks of World War I on the Eastern Front. Book Three of Our Trakl--the series that began with Trakl's first book Poems and his posthumously published Sebastian Dreaming--also includes translations of unpublished poems and significant variants. Interpolated throughout this comprehensive and chronological selection is a biographical essay that provides more information about Trakl's gifted and troubled life, especially as it relates to his poetry, as well as the necessary context of his relationship with his favorite sibling, his sister Grete, whose role as a muse to her brother is still highly controversial. Trakl's life was mysterious and fascinating, a fact reflected in his work. A Skeleton Plays Violin should not be missed.

Sebastian Dreaming comprises the second book in James Reidel's Our Trakl series. Published posthumously in the original German in 1915, this is the second and last collection prepared by Trakl himself. Indeed, the Austrian poet may have tied his own fate to it. During his last days in a military hospital, Trakl had politely requested proofs of Sebastian Dreaming from his publisher and waited a week before overdosing on cocaine. He had been told once before that the war, which drove him into madness, had indefinitely postponed his masterpiece. Now the wait is over for Trakl's book to appear separately and in English. Until now translations of the poems from this collection have appeared in selections and complete volumes. Reidel has chosen to present the book individually, as Trakl wanted his book experienced. To achieve this, a certain verisimilitude in these English renderings has been achieved--even omitting the German facing texts is at work here--for which the translator has gone to great lengths, with an eye for seeing Trakl in his time and place, not only as an early modern poet but one whose strange and intriguing language and setting came from another century and still haunt us in ours.

Georg Trakl is an Austrian-German expressionist. This translation marks the hundredth anniversary of Trakl's death during the first months of World War I. It introduces readers to the powerful verses of this wartime poet.

Although the Austrian poet Georg Trakl was born over a century ago, the mesmerizing imagery and haunting visions of his highly sensitive and morbidly introspective poetry are as powerful today as they were when he poured forth his extraordinary and unclassifiable volume of work. A source of inspiration for artists, musicians and writers through the Expressionist period and beyond, Trakl's poetry bleak, yet full of tenderness and hope, nightmarish yet eerily beautiful has steadfastly defied any coherent critical analysis. Will Stone's outstanding new translation, in a paralleltext edition complete with contextualizing essays, promises to rekindle interest in the work of this seminal poet.