Paul Celan, arguably the mid-20th centurys most important German-language poet, is commonly pigeonholed as a poet of the Holocausta term, however, he never used. Undoing facile assumptions about Celan, Corona charts a more idiosyncratic and personal path through Celans large oeuvre, choosing 103 poems from among the more than 900 Celan published. The bilingual selection includes work from all of Celans periods and genres. Without ignoring the poets well-known work of memory and memorialization, it seeks to open a space for new appreciation of Celans love poems, as well as his poems on political events, painful reflections on his stays in mental hospitals, and quasi-burlesque verse. Susan H. Gillespies translations are characterized by their ease of diction and their attention to the somatic and rhetorical aspects of Celans linestheir sound, gait, tone, and gravityas well as to their internal and external echoes. The latter, elucidated in notes to the poems, include references to other poets and to Celans wide readings of everything from specialized dictionaries to other writerswhat Roman Jakobson called their poetic etymology. Here, poetry is not what gets lost in translation, writes Gillespie in the Introduction, it is, itself, an act of translationof experience and thoughtinto new language.