Morgenrosa (German Edition)

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International Shipping at best shipping prices! Notify Me We will send an email as soon as we get it in stock. Write a Testimonial Few good words, go a long way, thanks! The women would surely not be allowed to cross the border and be sent back to Berlin the policeman said. Luckily, she followed his advice and survived.

However anecdotal this episode might be, it is still remarkable how she, despite earlier encounters with Gestapo as she described in the text Leben unter Bedrohung — Living under threat , still believed in the German police and authorities. Had she met someone else these words would probably have never been written.

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A short summary of her biography shows that she had never been employed nor did she ever finish any form of higher education. What she had learnt, she had read herself or had been taught by friends. Moreover, this was probably a privately financed printing — she considered herself to be an author and a poet. This does not however seem to be the case.

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She was deeply rooted in German culture and a Jewish identity was not adopted until after she had left Germany. The topic of my dissertation, a larger project on Nelly Sachs, is exactly how exile transformed her poetry, which she said at first to be naive and romantic, to eventually becoming a poet of the Holocaust and a Nobel Prize laureate. I will only give a few examples of her early poetry because Sachs explicitly forbade any publication of her early work.

I will make some general remarks and thereafter quickly move to her first years in exile. Sachs published 29 poems in various papers over ten years, from Most of her poems rhyme and they are written in a specific lyrical form. The majority of the sonnets has a religious theme, and focus on the longing for a distant and absent God. Many romantic themes are also present.

These borderlands of love and death transcend human life, connecting it to the after life, with Gods great love. This mix between a secular literary tradition and a religious theme is something to which I will return.

Even someone as important as Stefan George was no more than a name to her. Everything seems to point to the fact that it was first in exile that she really encountered literary modernism and was introduced to this movement by Swedish poets. From a theoretical perspective, exile is not a clear way to define an author since there are many forms of exiles, and I doubt that one could find any common thread among all exiled authors.

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That will is something beyond a biographical and geographical fact that they have been forced to leave one country for another. Early during her life in exile, Sachs sees her poetic creation as a way of allowing herself to be transformed into a vessel and thereby communicate with the voices of the murdered.

One could in fact argue that she thought of this work to be an act of translation. And this might very well be the case, but I think that the research generally has been too obedient and followed Sachs own statements to the letter and therefore disregarded the exile in Sweden were she lived the last 30 years of her life.

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With this I mean the very vie quotidienne that she experiences, the literature she read and how this affected her. It is during and that Sachs seems to transform her previous heartfelt romantic longing into something else, into something beyond this world, and articulate it in a very specific historical context: This has in part to do with her encounter with Swedish modernism, and also with the growing awareness of the scale and scope of the Holocaust.

It started in late with reports in Swedish papers; the Jewish community also distributed testimonies from resistance fighters that had witnessed the murders. Up untill the time when Sachs became aware of the Holocaust and the dreadful dimensions of the mass murder she did not give her Jewish background any priority. In her youth she seems to have considered converting to Christianity. The Christian mystic tradition and Christ as a symbol for the silent suffering followed her through her whole life. But before Sachs started thinking of any form of metaphysical translation, bringing the voices of the dead to this world, and as a possible way to escape the horrors of our time, she saw translation in a very practical way: She also had Swedish friends who probably advised her on what to read.

It is however clear that she focused mainly on Swedish modernism and seems to have cared little for earlier Swedish literature. One of the first authors that she encountered was Erik Lindegren, who nowadays is viewed as a relatively minor author in Sweden and is probably unknown to the most if not all of our French colleagues. Throughout the collection, there is fixed meter and rhyme. He did however show that he was somewhat influenced by his contemporary European colleagues; for example, he penned a poem about jazz in the collection.

But the path from creation to publication was difficult. Many attempts by him and fellow writers to persuade publishing houses to accept the collection failed and he finally resorted to financing a small edition of copies with his own resources. Not until a few years later did he find a publisher for the collection, which gave the work a wider circulation. What is interesting is that Nelly Sachs owned one of these numbered copies and therefore probably read Lindegren long before the general public. In fact, her copy remains today at the Royal National Library in Stockholm.

It is worn edition; the pages are almost falling out of the book.



Sachs made numerous notations in the book, and one could almost say that some of those notations are first drafts of her translations. Quite a few pages are dog-earred and worn, indicating that her way of treating the book, especially in comparison to other books in her library, bears witness to her intense interest in it.

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