Published April 20, 2009 | 
This poem by a Holocaust survivor is posted as my response to Hitler’s birthday. Celan’s Death Fugue may be the single best poem to come out of World War II. Do go read it.
Theodor Adorno raised the question of whether it was barbaric to write poetry after Auschwitz.
To me, poetry is, has always been, one of the few possible answers to the death camps, since long before I read Adorno or Celan. When I was a small child, I saw those pictures. (You know the ones.) They were in books on my father’s shelves. Books — poetry, stories, nonfiction, any kind of book — were the only defense I had against those images, against the searing things he did to me and animals, against the things he made me do, and which even then I sensed were a private expression of the same impulse that built the smokestacks.
Books are defiance even in defeat. They are victory even in death. Long after their authors are dead, they go on tapping out the message of freedom to prisoners caged in tyrannies of iron or clapboard. They can speak the truth when all utterance is forbidden and only lies are acknowledged.
Adorno’s oft-quoted dictum that there can be no poetry after Auschwitz is a quotation from a larger, far more complex and shifting attitude. (Good article on it by the late poet Reginald Shepherd.)
Adorno also wrote:
Literature must resist this verdict, in other words, be such that its mere existence after Auschwitz is not a surrender to cynicism…. It is now virtually in art alone that suffering can still find its own voice, consolation, without immediately being betrayed by it.
