Margarete and Her Spectre

Abstract Paul Celan was undoubtedly the greatest post-World War II German-writing poet, and Anselm Kiefer one of the greatest living German artists. These two giants can be seen to meet through a series of artworks that Kiefer dedicates to the depiction of Celan’s Todesfugue (Fugue of Death). Bringing together the verbal and the visual, the color of gold symbolizes life, while ashes symbolize exile and death. In a melancholic gesture of thought, Germany claims ownership of the gold and by extension over Origin. In this way, the Jews are reduced to ashes. Behind this traumatic encounter between gold and ashes, that appears in both Celan’s and Kiefer’s work, there looms a no less traumatic encounter between fire and spirit: the German soul is metaphorically identified with the inflaming and illuminating element of fire, while the Jewish soul is aligned with the element of spirit, or ether. The values of gold and ashes on the one hand, and of fire and spirit on the other, are intrinsically connected; and following Heidegger and Derrida, it can be said that the identification of the German soul with fire is precisely what gives it the claim of sovereignty over gold, and ultimately over Origin. This is also the source of Germany’s philosophical justification for expelling the Jews to exile and death. The Judeo-German differend, with all its horrific violence, so this article argues, is locked within this quadrangle chest of gold, ashes, fire and spirit.