TEQ book 16 - the local function

TEQ book 16 - the local function

John Bjarne Grover

This article outlines the basis for a definition of poetic function 16 to my TEQ. It also brings some evidence in favour of the assumption of a poetic-esthetic and not administratively controlled correlation between my poetry and Midori's recording

I have studied the local and the global TEQ function 14. This shows that 1) there is a global distributional semantics and 2) a local universal type of poetic work, and hence that 3) these are the same. The local and the global function are the same.

In this article I try to trace something comparable for TEQ function 16 - with emphasis on the local function on basis of the parallelism between poems 1-155 and Midori's recording of Bach and Bartok sonatas. This correlation - text annotated with timing from the recording - is found in chapter 20 of 'Poetic semiosis' in vol.3 of my work.

I study works of the following poets: 1) George Seferis 'Summer solstice', 2) T.S.Eliot 'Four quartets', and 3) Vicente Huidobro 'Ecuatorial'. This should suffice for proving that there is a factual correlation between my poems 1-155 and Midori's music. In addition, I make mention of 4) Giuseppe Ungaretti's 'Ultimi cori per la terra promessa' for supporting the hypothesis based on Huidobro and 5) Nelly Sachs 'Fahrt ins Staublose'.

Eliot is in a special class and exhibits some peculiar (physiological?) characteristics which could be due to the british rooting of his way of conception. Seferis and Huidobro run in parallel by their poem lines to my full poems or poem titles. Seferis can be used to prove that there is a basis for the subdivision of my poems 1-155 into the chapters which follow the movements of the two sonatas, while Huidobro proves the difference between Bach and Bartok.

The recording of Midori - 4 movements Bach solo sonata #2 and 3 movements Bartok sonata violin/piano (with Robert McDonald) - follow the 155 first poems out of the 199 in TEQ book 16.

Bach 1 = poems 1-16
Bach 2 = poems 17-36
Bach 3 = poems 37-60
Bach 4 = poems 61-77

Bartok 1 = poems 78-108
Bartok 2 = poems 109-127
Bartok 3 = poems 128-155

In Bach there are 2 seconds per unindented = unbroken line, which means that one unindented line followed by one indented line - that is one single poetic articulation spread out over 2 lines - correlate with 2 seconds of the recording, while in Bartok each line, indented or unindented, correlate with 2 seconds recording. That means that one single poetic articulation takes 2 seconds in any case in Bach but it can be spread out on 2, 4, 6 etc seconds in Bartok. As such, book or poetic function 16 can be seen to be about linebreak - something which it to some extent shares with book 5 which exists in two versions - one time-based and one quasi sonnet based. In the 2007 edition book 16 was lacking but there were both versions of book 5.

George Seferis 'Summer solstice'

There is the 1966 work 'Summer solstice' of George Seferis - part 3 in his 'Three secret poems' - which exhibits a remarkable and very interesting parallelism with my TEQ 16 poems 1-155 - the poems in parallel with Midori's recording, chapter 20 in 'Poetic semiosis'. 'Summer solstice' consists of 14 poems - the first 8 in parallel with Bach and the latter 6 with Bartok. The general principle is that one line of Seferis is one poem of mine - which means that the contents overview to the 155 poems in my book can be used as a parallel to his poem lines. However, there is not a simple one-to-one parallelism.

The point of departure for my discovery of this was his poem 8 in parallel with Bach 4. It seems that Bach 1-2-3-4 - not the least on basis of this parallelism with Seferis - can be recognized as following the four last words in the poem (TEQ poem #11) which I sent to Midori in 1997:

Bach 1 = Itemslist
Bach 2 = Form
Bach 3 = Crucispace
Bach 4 = Stab

It was this Bach 4 = 'stab' which I recognized in Seferis' poem #8, which starts with my TEQ book 16 poem #61 "Cannibalist and cannibalism" to his first line "The white sheet of paper, harsh mirror". It thereafter follows Seferis line by line - in total 23 lines - with my book poem by poem through Bach 4. But there are only 17 poems of mine in Bach 4. The solution to this is the turn - the 'grausamer Spiegel' - at the poem 77 = his line 17 following on to his line 18 = my poem 76 - reversing or mirroring my poems down to #71 in parallel with his progressive lines. This means that my poem 71 = 'You go into an aircollighter' is the end line of his poem - and this poem of mine thereby serves as the mirror my poem 'Kohov 16'. This is the principle of the STAB. Here it has the form of running Bach 4 through from beginning to end and then returning backwards to the mid point - which constitutes the mirror surface to the first half.

It seems that this STAB is the most interesting part of TEQ book 16.

Bach 3 is of another kind: It goes from my #37 to #60. It starts with poem #37 in his poem VII: 'The poplar's breathing in the little garden' down to the last line of his in poem VII = my poem 57, skipping over to his poem VI, the three first lines for my poems 58-59-60 at the end of Bach 3. This jump or criss-cross phenomenon is what constitutes the crucispace element. It has an interesting reflex in Huidobro.

Bach 2 starts on his poem V and reads into his poem VI but skips the three first lines of that - which were for Bach 3.

Bach 1 seems to distribute its 16 poems over Seferis' first 4 poems. I have not studied this in detail here.

This means that my Bach 1-4 is Seferis' poem 1-8.

Bartok starts on his poem #9 - and it seems to run smoothly one line of his to one poem of mine all through Bartok 1, 2 and 3 up to my poem #139.

That leaves the last 11 lines of Seferis to the last 16 poems of mine (cp. 'Kohov 16'?) - and this is where the mystic turn takes place. There is a partwise remarkable parallelism of the phonology of his greek with the phonology of my english titles (or first lines) in such a way that his 11 lines distribute over my 16 poem titles. For example, my poem #142 "The train-oriented beach" is in parallel with his line 'to retsini viatsete', the next #143 "No heating on the live" with his 'na yenisi phl[oga]' - leading over onto the next #144 = 'Egg'. It goes not in mathematical subdivision but follows the poetic logic, such that 'to hekatophyllou' = title #154 = 'Maximal' (which is a semantic correlation) and my last poem title #155 = TEATRO NO-PLACE is his last word 'rose'. The '2 millions dialogue' - poem #152 with its strong reference to the black-and-white photos of the grove in the Danube island - comes out as 'to mesmeri pou karphotike' while 'Vin' = 'to helios stin kardia' = 'the sun in the heart' (or nailed/riveted to the heart - as in the end of Bach 4). These last 11 lines of his and 16 poems of mine are where the phonology and the semantics go into a higher semiotic unity.

The evidence adds to chapter 23 in 'Poetic semiosis' on TEQ book 14 - here for yet another colour in the 'rainbow' - in 'The Regenbogen Quartet'. One can speculate that there are some types of such local functions.

This correlation also proves that the parallelism and subdivision of the hebrew fragments to my poetic text are not coincidental.

T.S.Eliot's 'Four Quartets'

What is peculiar about Eliot - to the extent that it applies to TEQ book 16 - is that his form seems to incorporate Bartok into Bach. The four quartets otherwise seem to follow the scheme of

1. Itemslist
2. Form
3. Crucispace
4. Stab

However, before the reader embarks on a closer study of this, it may be appropriate to issue a warning that a study of the material relative to the other 2-3 poetic works discussed here can come to elicit a notable belly rumble which can last for some time. Although this is a very interesting phenomenon of poetic-physiologic interaction, it can perhaps be felt as a problem to some readers, such as e.g. readers who study in silent libraries and reading rooms - who hereby are warned. I will therefore look only very superficially at it here.

A part of the reason for this belly rumble phenomenon could perhaps be found in the peculiar role which Eliot - on basis of british traditions - could have assigned to the role of the name - his own name relative to his work, that is - in the present case on the format something like this:

t s eliot
1 otelist = itemslist (cp. backwards)
2 foimt = form (handwriting from toilets, toilest = backwards)
3 english = crucispace
4 homer's turns = stab (from T-homas S-tearns)

This goes in parallel with the british peculiarity of the fictional distance between observer and observed being conceived as tentatively factual.

But apart from this, his Four Quartets provide evidence or at least traces of this local function 16. Eliot incorporates a tripartite Bartok into a square Bach. A part of the method of his seems to be in terms of the ending of my 4 Bachs correlating with the second last parts of his quartet elements - that is how Bartok is incorporated. For example, end of my Bach 2 = poem 36 = 'Cet autumn de credo' has no music to it. Why? Because form means that there always lacks a millimetre of two for the social mystery to take place - and a piece of daredevil faith must be added for making it function in social unison. The second last part of East Coker ends with the bloody christian mysteries - 'our drink is blood, our food is flesh - and still we call this Friday good'. Bach 3 ends with my poem TEQ book 16 #60 which is TEQ poem #1580:

A.T. 22.05.06

I nutch the much
even if the close of batch was close enough
to be reached at that time.

where Eliot has the lines in the second last section of Dry Salvages:

will not reject them
or wherever cannot reach them the sound of the sea bell's
perpetual angelus.

which is a comparable heap of alveopalatal affricates. The fourth quartet, Little Gidding, ends in the second last part

consumed by either fire or fire.

and in the last part it ends, the last lines of the work:

and the fire and the rose are one.

This is indeed also the theme of my work relative to Seferis - or rather that the fire turns into a rose.

England has been at war with the classic archetypes since at least the mid 19th century, notably in the 20th century, and this could perhaps be part of the rumbling phenomenon of Eliot. The role of the archetypes for the present complex is contained even in Seferis. His 'Summer solstice' is the third part of his 'Three secret poems' (1966). The second part is called 'On stage' and it contains a 'gong' as a prominent element. This can be recognized in the function 11 form to my TEQ poem #1031 (in TEQ book 12), the transform which belongs to the nose-trunk archetype. The man-on-wagon variant has for this poem #1031 the form "The music starts with the axeln" (righthand context #209) - which can be recognized towards the end of the first part of Seferis' tripartite work. This means that one can guess that his work is related to the three main archetypes. It could be the british war on these which is the phenomenon of Eliot's rumble - in particular if the circumstances include mysticism on the meaning of names.

Huidobro's 'Ecuatorial'

This work (some 14-15 pages or thereabout in the Suhrkamp edition of 1966) seems to lend itself to an analysis according to function 16. The remarkable aspect of this poem correlated with mine is that it has one line per poem in Bach 1-4 and two lines per poem in Bartok 1-3. That is something - when the difference between Bach and Bartok relative to my work is precisely in this role of the linebreak relative to the interval of 2 seconds.

The analysis can probably be made in various ways - I present one which I find interesting.

Introductory: The work is dedicated 'A Pablo Picasso' which here reads 'to Bach Bartok'. What the 3-4 first lines tell I dont know, and the following thee lines of capitals suggest perhaps Bartok 1-3. Then follows 2-4 lines which seem to suggest a role for the 'AVION DE CRISTO' which arrives at the end and which seems to be about my vision of the 'motorcycle' or meteor or rose (front page vol.3) or whatever from outer space occurring in the beginning of Bach as a small spot in the sky (back page vol.3) and at the end of Bartok crashes unhesitatingly into the ground. The lines 'Sobre el campo banal / el mundo muere' seems to be the end of this space travel, while 'de las cabezas....' are the beginning. It is of course possible to see the beginning lines as being about the front pages of volumes 1-3 and of the special edition of book 16.

Next there seem to follow 4 lines (Y en la trinchera... /// una a una) which could be seen to define 1. itemslist, 2. form, 3. crucispace and 4. stab.

From here starts the correlation with my work.

Bach 1 starts on 'Caminando al destierro' as poem #1. I refer to the acoustic relevance of this line for the second line of my poem: "Your sister goal". Exactly how to count line per poem (there are 16 poems) through Bach 1 is not totally clear - it seems (although there could be alternatives) to last untill

Bach 2 starts on SIGLO ENCADENADO EN UN ANGULO DEL MUNDO, from which it reads one line per poem and starts with #17 = 'En los espejos corrientes' down to poem 36 = 'llevaban una cruz en el sitio del ancla'. That leaves seemingly one line unaccounted for - 'Cantando nos sentamos en las playas'.

Bach 3 starts at the following 'Los mas bravos capitanes', but, just as for Seferis, this 'crucispace' seems to be encoded in terms of a displacement of the three last poems 58-60 to the beginning - it is even a similar formalism as by Seferis: Poem 60 = 'Los mas bravos capitanes' + 'El capitan Cook', poem 59 is next line and poem 58 the third line. From there one reads one line per poem 37-57 for Bach 3 untill poem 57 = "Quemandose las alas / cual dioses inexpertos".

Bach 4 is the main theme even here - it seems that this function 16 is much about this STAB function. In my reading Bach 4 starts on 'Los aeroplanes fatigados' = poem 61, and it goes one line per poem out to poem 77 = 'Los emigrantes cantaban sobre las olas invertidas'.

Bartok 1: From there follows MAR = BARtok, starting with Bartok 1 = MAR DE HUMAREDAS VERDES. From here and out the work one counts 2 lines per poem - which is the first of two sensational correlations with Midori's recording (here relative to my poems). The correlation runs to poem 108 (or 107) which in Huidobro is the year '1917', the year after the official birth of Gröver/'Mengele'. As ends my poem 107: 'Dear Celan. All deeper ratios will be deleted'. The poem 108 seems to curl up in such number forms - with '42 Josef Leech' in the last line 'AS relevant to public images' and variants of this.

Bartok 2 starts with my 'Medling' on Huidobro's 'LLUEVE', which could be a single line for the title, the rest goes from poem 109 in double lines. Some are a little difficult: 'Marte' = 'based on mysteries' or rather a part of 113? The clue to Bartok 2 is the length of the music movement: My poetry goes to poem 127 which lasts from Midori's 09:16 to 09:37 - and from there and out the movement of Bartok around 11:00 there is no poetry to the music. This is exceptional - there are some 84 seconds of music without my poetry, and these mirror with high precision the 84 seconds in the beginning of the same movement with violin solo without piano accompaniment (see comment on Bartok 2 in this file) - before the piano enters with a high chord for the spot in the sky and a low chord for the crashing spacecraft. Many aspects of this is contained in the number mysticism in poem 127. Now the lacuna is contained in Huidobro from its poem 127 = 'y cantos tan diversos / como en los puertos extranjeros' throughout the following 29 lines PLUS the two far-indented forms "Primavera / Al lado izquierdo // 30 minutos". This is the second sensational aspect of this correlation: From the beginning of Bach 4 = STAB untill the end of this Bartok 2 in Midori's recording there are nearly 30 minutes exactly - there are 29 minutes and 41 seconds, according to the temporality given in the information leaflet. These are the 29 lines plus indented additions. It is likely that these 29 lines can be read as the 29-30 minutes of music, which means that the first 5 lines ('Los hombres... //// ...Torre Eiffel') correspond to Bach 4 = 5 minutes etc - although this correlation is less essential.

Bartok 3 is the rest of the work, starting with poem 128 = 'Pasa el tren lleno de flores y de frutos / El Niagara ha mojado mis cabellos' untill the absolute crash of the spacecraft into earth in the last poem 155 with the following 2 lines:

CRUZ DEL SUR

SUPREMO SIGNO AVION DE CRISTO

This is likely to be the same as 'TEATRO NO-PLACE' in my poem 155. There follows another four lines in Huidobro - 'El nino sonrosado de las alas desnudas' etc.

In short, there are two sensational discoveries: The one is the phenomenon of one line for Bach and two lines for Bartok, the other is the one of the mention of 30 minutes correlating with Bach 4 + Bartok 1-2. This lends much explanatory force to Midori's recording relative to my poetry. It can be added that if one counts backwards from Huidobro's mention of '30 minutos', and count the real-world 29 minutes and 41 seconds of the recording (according to the information leaflet) instead of the ideal 30 minutes of Huidobro, then one comes in fact rather precisely to the 'mirror surface' of my Bach 4 relative to Seferis - the interface or mirror surface between poem 70 = 'Kohov 16' and poem 71 = 'You go into an aircollighter'. Which is the correlation with my own STAB form relative to Seferis - here contained in the recording of the music relative to this mention of Huidobro. There is the gap of 19 seconds = 9,5 lines if 2 seconds per line, or 9,5 poems if 2 lines per poem. That takes it half way through poem 70. Since there is a little silence at the end of each track on the record, one can safely put it at 20 seconds - and hence on the mirror surface exactly.

This probably proves that the correlation is poetic/esthetic and not political (eggs etc).

Phonology/acoustics of Huidobro: There are also clear traces of a correlation of the phonology of Huidobro with my corresponding poems or titles - apparently partly with the second line of my poems (which could be a third sensational discovery). I have not studied this phenomenon in detail - however, a few examples should be telling:

Poem 87:
Y otro llevaba al hospital del puerto = 0410 And by so = 1.1.1
un ruisenor desafinado = 0412 Should try and keep me informed

Poem 91 is obvious: Huidobro's repeated diagonal 'Alla lejos' = my diagonal 'OF A BAS!

Poem 97 seems to swap order, as for the onset of Midori at 0705-6 and 0715-6:
Sobre los mares = 0718 La responsabilité
huyo el estio = 0716 Delf (or 0720 e le troi)

Poem 98:
QUE DE COSAS HE VISTO 0726 Pedal sjutten-atten
Entre la niebla vegetal y espesa 0728 Grunnfjellet

(The music at 0726-0727 is very suggestive of my line which means Pedal 17-18 - with swedish-norwegian national switch, a peculiar pronounciation of political differences - but clearly Huidobro's line adds the concept of 'Petal' to it)

Poem 114:
SALE LA LUNA 0228 Estunates
Un astro maltratado 0230 They are called 'Schriftsteller des Randes'

Poem 115:
Se desliza 0254 669 Schaum - Umsatz
Astrologos de mitras pontiagudas 0256 And that was the aim of the government

This 669 = 0709 is telling of the 'cymbals' - as for 'Se desliza' (see also poem 118: 'Lieder, lieber')

It seems that this inner-acoustic correlation basis is present in Bartok 1-2 but not in 3 - it is lost by the long intermission between poems 127 and 128.

However, the theory could be tested whether there are traces of this inner acoustics and its distribution in Midori's recording.

Giuseppe Ungaretti 'Ultimi cori per la terra promessa'

I do not analyze this in detail here but point to it as an interesting support to the two important discoveries in Huidobro. The 'Ultimi cori per la terra promessa' contains 27 poems over 218 lines. Assuming the same distributional principle as in Huidobro, I count one line per poem of mine in Bach 1-4, which takes it to the end of Ungaretti's poem #8, and then I count 2 lines of his per poem of mine for Bartok 1-2. This takes it to the end of Bartok 2 at 13 lines into Ungaretti's poem #23, which is the line 'che alla velocita ti catapultano'. This should be the end of Bartok 2 - and if Huidobro is right, there should be a mention of 30 minutes in the next line. Is there? Voila! - here is the proof! The next line goes "di mille miglia all'ora" = 'one thousand thousands/miles per hour'. It couldn't be more precise - for the mirror in the other end of the half hour. Which means that both of Huidobro's remarkable correlations can be seen as supported by this work of Ungaretti. Are there any traces of Huidobro's 'Spring & left hand'? There are: The two lines following "di mille miglia all'ora" are "l'irrefrenabile curiosita / e il volere fatale".

Nelly Sachs "Fahrt ins Staublose"

This work of 170 lines seems to some extent to adhere to the 155 poems with music, but follows a slightly different way of thinking than the other parallels. It does not make for 2 lines in Bartok vs 1 in Bach, but runs 1 line per poem through, like Seferis. The interesting observation for the present case is the line immediately after 127 - for testing whether there are traces of the half-hour even there. The lines 128-130 are these:

128 Die abgeschnittene Schöpfung
129 auf den Ladentischen
130 wurde in meine Welt verlegt

The last poem with music in my work, #155, is her line 155 followed by the rest of that poem of mine:

155 Bett Stuhl und Tisch
156 schlichen auf Zehenspitzen aus dem Zimmer
157 dem Haar der Trennung nach -

158 Alles ist ausgewandert mit dir
159 mein ganzer Besitz enteignet -
etc

Eliot again

Although I do not recommend too close studies of the correlation with Eliot, I can hint to a passage in 'Four quartets' which exhibits some interesting traits in common with - or perhaps rather in contrast to - my version. If one assumes that the mirror of the STAB is in the middle of the 3rd part of his last quartet, it is around the passage

if I think, again, of this place
and of people, not wholly commendable

to which there is the relevant parallel in the end of my poem 121, in Bartok 2:

0706 Then what for is it printed twice?
0708 They were very sensible people all of them.

This is sort of the opposite, but it is not the same place in the work. In general, one could think of Eliot's belly problems as related to this phenomenon - and the assumed call for the 'lemmesmör prophet' to cool down the burning feel in the skin. Clearly one spots the three parametres of british spiritualism in the background.

The lines at 0706-0708 are at the end of poem #121 which starts at 0612 'Mighty cymbals ring outside' and at 0614 with the two boxed numbers 4 and 23. There were news about american soldiers who had been ordered to pull iraqi privates out of their homes, could be for simply shooting them. Would this have been only because of american angst for the transcendence of islam, which white christmas popcorn could not battle, or was it quasi-holy punishment of a people who had used inacceptable means in the war against Iran? Such methods cannot be permitted. But then again if the two gulf wars 1980-1990 were all and only about installing the number '23' into world consciousness by way of as much bloodshed as possible, for use in a later western engineering of a new Hitler which they could battle on a global scale, wouldn't that mean that Saddam Hussein had to be an agent for UK and US interests when he started these wars on those dates? Then why - was that even for giving US a chance to find an outlet for its transcendent angst by dumping it on the iraqi people? The numeral 23 is reached by 'double foldover' of military math in the calendar. It is possible that Midori has an answer to this in her 'mirror' of Bartok 2 - when adding 4:23 to 06:14 takes it to 10:37 - to which one can add another 23 for reaching the exact end of the movement - which mirrors the beginning 84 seconds relative to my poem 127. It is the entry of the piano after 84 seconds in Bartok 2 which tells of the 'avion de Cristo' of Huidobro - a highly transcendent thing. It is possible that the correlation of music and poetry in TEQ 16 is about such temporal matters - it is only rarely that one can find 'illustrative' correlations (tremolo when the train approaches the heroine bound to the rails etc - but see e.g. Bartok 1 at 0852 or Bartok 3 at 0300 or 0338). It could be that this is a mirror of east and west.

What do the other poets say about this? Nelly Sachs is precise, for my poems 121-122 she has "zahlend die Währung / ein Wallgraben aus Nacht" - where the latter line corresponds to the displaced mirror of Eliot. (One could fancy that while the germans had their 'Sturm & Drang', the britons had their 'Gloom & Doom'). Huidobro: "[Cada vez que de la hora /] Salia del reloj un paje serio / Como a decir" ('Ein ernsthafter Page aus der Uhr / als wolle er sagen'). And for the gloomy mirror in Iraq by my #122: "Der Wagen wartet, / Gnädige Frau". Seferis (120,121,122) - "Soon now the sun will stop. / Dawn's ghosts / have blown into the dry shells" - where the 'shells' in greek are 'kokhylia', cp. the 'co-1000' of the half-hour. There are traces of the same in the beginning of Ungaretti's poem 23 from his 'Ultimi cori'.

Rilke

Rilke's two requiems (1908) are the perfect function 16. He wrote two such requiems - one "Für Wolf Graf von Kalckreuth" which is 155 lines in close parallel with mine, hence one line per poem in Bach and Bartok alike, while "Für eine Freundin" is 271 lines - one line per poem in Bach and two in Bartok plus some extra at 127-128.

Some stories

I have two distinct memories from my meeting with my childhood fantasy friend Gori whom I met around the time when the two people who probably are my genetic parents met in 1960, at my age of 3 (probably before the Zimmermann story started). The first was of Gori claiming to live behind the mirror on the wall - I inspected the mirror and concluded that the claims were in the category of slightly dubious since the depth from the mirror surface to the wall was rather short - a few centimetres only. Could have been about the seconds of silence at the end of the recorded tracks? The second and related memory is from the two of us playing together in a cardboard box. It seems that both these memories are present in this study - the mirror in Bach 4 and the phenomenon of 1 or 2 lines 'per pack' in Bach and Bartok.

It happened on 23-24 february 2002 that my left hand and subsequently the whole lefthand side of the body got nearly paralyzed after the news of the abduction of Ingrid Betancourt. In the beginning I had difficulties with walking and it took many weeks before I could button my shirt or type with the left hand. This notable event in my life took place in the early spring and can be recognized in the decisive mention of Huidobro - 'Primavera / Al lado izquierdo // 30 minutos' = 'Spring, / the left hand, // 30 minutes'. This numbness or near paralysis was very strong in the beginning and can still be felt now and then. I later took this story to be part of this poetic project - as if an angel took my left hand to guide me around.

Angelina Jolie's 2011 film "In the land of blood and honey" seems to find an interpretation in my function 16 poem 119, with comments from the other poets on the corresponding lines.

Sources quoted:

Eliot, T.S.: Collected Poems 1909-1962. Faber, London 1980.

Huidobro, Vicente: Poesie. Übertragung Fritz Vogelsang. Suhrkamp, Frankfurt am Main 1966.

Rilke, Rainer Maria: Sämtliche Werke Band 2. Insel 1976.

Sachs, Nelly: Fahrt ins Staublose. Suhrkamp 1988.

Seferis, George: Complete poems. Translated by Edmund Keeley and Philip Sherrard. Anvil, London 1995.

Seferis, Jorgos: Geheime Gedichte. Übertragen von Timon Koulmasis und Danae Coulmas. Romiosini, Köln 1985

Ungaretti, Giuseppe: Ultimi cori per la terra promessa. From 'Il taccuino del vecchio'. In: Das verheißene Land. Das Merkbuch des Alten. Zweisprachige Ausgabe. Deutsch von Paul Celan. Insel, Frankfurt am Main 1968.

Midori Goto, Robert McDonald: Bach, Johann Sebastian: Sonata No.2 for unaccompanied Violin in A Minor, BWV 1003, Midori solo violin, Bartok, Bela: Sonata No.1 for Violin and Piano Sz. 75, BB 74, Midori violin, Robert McDonald piano. Sony Classical 82796977452, published in 2007-2008.