Georg Trakl

bendk

Grimscribe
HORROR

I saw myself walking through deserted rooms.
The stars were dancing madly against their blue background,
Dogs howled in the fields,
A wild wind screamed in the trees.

Yet suddenly: silence. A fever's dull glow
Sends poisonous flowers blossoming from my mouth,
And how the dew falls, pale and shimmering, from the branches
As if from a wound, and falls, and falls like blood.

Out of the deceitful emptiness of a mirror
A face rises slowly and indistinctly
From the horror and darkness: Cain!

The velvet curtain rustles quietly.
The moon shines into emptiness through the window.
I am alone with my murderer.


Georg Trakl killed himself on the night of November 3, 1914.


"He (TL) introduced me to the exquisite work - as bleak and beautiful as bone- of Georg Trakl, who remains one of my most-loved writers and one, like Tom, who exists in that crepuscular world between prose and poetry."
- David Tibet


Georg Trakl (1887-1914) is acknowledged as one of the great melancholy pessimists of the 20th century. Born in Salzburg, Austria, to middle-class parents, he led a relatively normal life until his teenage years. Then a black mood descended upon him and the start of a spiritual decomposition began. Some have speculated that he suffered from undiagnosed schizophrenia. His emotional instability coupled with a worsening drug addiction would precipitate his demise.

He started writing poetry in his late teens. Some of his influences were: The Bible, Baudelaire, Rimbaud, Kierkegaard, Poe, Dostoevsky, and Nietzsche. Haunted by the "cold radiance" of death, Trakl's poems portray a hyperacute awareness of suffering; sometimes from a strangely detached perspective: "The dance of the living appears unreal." He envisioned "an angry God" and "the icy wave of eternity," and an inevitable sense of doom pervades much of his work.

The last year of Trakl's life was unbearable. While serving as a dispensing chemist in the Austro-Hungarian Army, he was immersed in the brutality of WWI. After the defeat at Grodek, in Austrian-occupied Poland, he was left in charge of 90 wounded men, who he could not help. He witnessed some shoot themselves. Shortly after, he was confronted with the horrific scene of deserters who were hung from trees nearby. He attempted to kill himself, but was disarmed. He was then hospitalized for a mental breakdown. Later that year, he injected himself with a lethal dose of cocaine.


More of his poetry can be found at:
www.poemhunter.com/georg-trakl/poet-11451/

More biographical information can be found at:
http://www.littlebluelight.com/lblphp/intro.php?ikey=27
 
Thanks for that info bendk. I really enjoyed those poems. I can perfectly understand why David Tibet was so fascinated by the works of Georg Trakl. This prose-poem style seems to suit my tastes as well.
 
Btw, for those who are interested. You can also download a booklet in PDF with 10 more poems by Georg Trakl.

It's right over here:

[ame=[URL]http://www.dreamsongs.com/NewFiles/Trakl.pdf]www.dreamsongs.com/NewFiles/Trakl.pdf[/ame[/URL]]
 
The Revelations of Trakl

Wow! I am captivated. Thank you for sharing this poet with us, bendk, and thanks for the subsequent link, s_wielh. In spite of my affection for both TL and Tibet, I had previously been quite ignorant of the existence of Trakl. His work is quite akin to my own inner voice. Behold, The Revelations of Trakl...
 
Hardcover: 120 pages
Publisher: Seagull Books (April 15, 2015)
Language: English
- the first book in a three-volume collection of Trakl's work

http://www.amazon.com/Poems-Trakl-Seagull-Books-German/dp/0857422464/ref=sr_1_12?ie=UTF8&qid=1422901781&sr=8-12&keywords=trakl
 
Dear all,
there is also an excellent selection of Poems and Prose translated by Alexander Stillmark on Libris publications available quite cheaply.
I do not know how it compares in terms of content with the others already mentioned.
J
 
https://www.youtube.com/watch?v=z-2EqpeMpnM

An Autumn Sonata. A dirge for the dying season before the white shroud of winter.

A beautiful video, but I find the desperately frenetic life pointless and disturbing.
 
The fantastic Diamanda Galás's interpretation of Heym's "Das Fieberspital":
[ame]https://www.youtube.com/watch?v=dgwoEi3UTNQ[/ame]
 
Reading the essay Ben shared on Trakl's drug addiction and its connection to his poems had me remembering.

I travelled through Austria in December 2019 - last time I really travelled anywhere before the pandemic sealed the borders. As I always do, I visited houses and graves, the domiciles of people I have admired or being intrigued by. I saw Freud's apartment and Thomas Bernhard's house and visited the house in which Mozart was born and the one Wittgenstein designed for his sister (currently the Cultural Section of the Bulgarian Embassy in Vienna, you ring the bell, pay 5 euros, and you are left alone to wander for a bit) and a few others I forget, the most prominent of which belonged to a pioneering early 20th century astronomer whose name I also forget.

Then I saw the resting places of Beethoven and the Strauss family and Ligeti and I spent a manic hour perambulating the cemetery trying to find Boltzmann's tomb, a feat I failed to accomplish due to the unbelievably counter-intuitive way the different sections of the Vienna Central Cemetery are organised. It was also snowing, I might have given up too early (I live where it is always hot, my blood is thin).

But these ruminations are neither here nor there.

In Salzburg, I attempted to see Trakl's house. In typical fashion, I tried to make it happen in the last evening of my stay in that city, in between imbibing gluhwein and casting a weary eye over my daughter skating in an ice rink at the main square under a dark and steady sky. The house was near but it was late and I failed to book an appointment or give them a call or even show up during the daylight hours. So I entered the courtyard and then went up the staircase to the second floor, whereupon I was confronted by an angry short-haired woman, who interrogated me in her pleasantly-accented, if very quick and fairly angry, German. My German being slightly inadequate to gracefully explain my self I spoke in English about how I would love to see Trakl's place. She looked at me as if I had suggested intercourse with a goat, steadily berated me for having done everything wrong - not knowing the opening hours, showing up like this, annoying her with my English etc. - and bid me a strict goodbye as she gestured that I should he heading downstairs at that point.

Thus I failed to enter the house. I also discovered that I have accidentally deleted a number of photographs I took at Salzburg - and in other Austrian cities - including the façade of that very house I failed to enter in that bleak December.

But I have Trakl's collected poems - Anvil Press Poetry, tr. Magritt Lehbert - and I will be reading and re-reading them soon enough. I wonder if Ligotti's Dr. Groddeck of Teatro Grottesco is connected to Trakl's poem Grodek, that masterpiece in turn begotten amid the pointless carnage of the Battle of Grodek, where all roads end in black decay.
 
51316845.jpg


This was recently published in 2020. Fortunately, there are a few copies in my interlibrary loan system, so I will eventually take a look at this.
 
51316845.jpg


This was recently published in 2020. Fortunately, there are a few copies in my interlibrary loan system, so I will eventually take a look at this.

I've wanted to read this volume since its publication but, unfortunately, it appears to fall into that category of academic texts which permanently retail at an absurdly high price.

I don't have access to a copy via a library, but if you do then I think you're ideally situated to have a chance at actually reading the book.
 
I have now read all of Trakl's poems - quite a few of them multiple times - and I feel strangely defeated...they remain vague to me, and mostly impenetrable. Perhaps because they borrow images and motifs from a European world that is gone, the same way the foehn wind crashes against the buildings of our overheated cities and sees its powers usurped. Perhaps it is my failure to visualize the autumn I haven't felt or seen in years. Perhaps I am just not receptive to his particular nightmarish subtleties.

Trakl packs at least 3 distinct images in most of his 4-line verses - one of them usually serving us a brutal denouement - and he does startle me with certain unexpected and nasty turns. But for the rest, the images of the moon, the constant recurrence of the sister, the clearing and the hunter and the deer and the water, leave me at a loss.

I am drawn - though I still don't claim to understand - the poems lamenting something, the defeat and the wrongness their tone invokes, and the ones where there is a terrible yearning for his own destruction.

But aside from his last few poems that were obviously inspired by and refer to his experience in the Galician front in WWI, it is hard to see what - if anything - can be hiding behind the combinations of words.

Though, I suppose, knowing certain salient facts about his life, helps.

Maybe I got more out of these poems than I thought.
 
I only own 'Songs of the Departed'. Trakl is one of those guys that I mistakenly tried to overthink and overanalyze. When I read his poems, there always comes a point where the words dissolve into this slow, visceral quietude that is both ephemeral and haunting. I've never read anything like him.
 
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Here are the Trakl pieces that most clearly resonate with Ligotti’s sensibility — and that scholars, fans, and Ligotti‑readers often point to as the ones he admired most.




1. “Grodek”


This is the big one.
It’s Trakl’s final poem, written after witnessing battlefield carnage, and it reads like a vision from the edge of consciousness.


Why it fits Ligotti’s world:


  • apocalyptic stillness
  • dreamlike landscapes collapsing into ruin
  • the sense of a world already spiritually dead
  • the “children dying” motif that Ligotti echoes in The Shadow at the Bottom of the World and The Red Tower

Ligotti has always gravitated toward art that feels like a dispatch from the end of the world, and Grodek is exactly that.




2. “De Profundis”


A descent poem — a slow, hallucinatory sinking into inner darkness.


Ligotti‑like elements:


  • the self dissolving
  • rooms filled with dread
  • symbolic decay
  • a tone of metaphysical exhaustion

You can feel this poem’s DNA in Ligotti’s early prose pieces like “The Lost Art of Twilight.”




3. “Psalm”


One of Trakl’s most surreal, visionary pieces.


Why Ligotti loved it:


  • grotesque beauty
  • dream logic
  • religious imagery turned inside out
  • a sense of cosmic wrongness

This is the kind of poem that feels like it could be read aloud in a Ligotti story and no one would blink.




4. “The Horror”


This one is pure Ligotti energy.


Themes that overlap:


  • the double
  • the self as its own murderer
  • mirrors as portals to dread
  • the quiet, suffocating atmosphere
  • the sense of being stalked by your own mind

It’s no surprise you posted it on TLO — it’s basically a Ligotti prose poem written 70 years early.




5. “Helian”


A fever dream of decaying rooms, pale figures, and spiritual collapse.


Ligotti‑adjacent elements:


  • the world as a haunted interior
  • color symbolism (Trakl’s blues, violets, blacks)
  • the sense of drifting through a dead or dying reality

This poem feels like the emotional ancestor of Teatro Grottesco.




6. “Sebastian in Dream”


A visionary, symbolic, almost occult piece.


Why Tibet loved it (and Ligotti passed it on):


  • mystical dread
  • dreamlike imagery
  • the sense of revelation through suffering

Tibet’s lyrics in the mid‑90s and early 2000s echo this tone heavily.




Why Ligotti gravitated to Trakl in the first place


Because Trakl writes the way Ligotti thinks:


  • dread as atmosphere
  • the self as a haunted object
  • the world as a decaying dream
  • beauty and horror fused
  • a sense of metaphysical doom rather than melodrama

Trakl is basically the Symbolist grandfather of Ligotti’s entire aesthetic.



 
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