As I listen to these, it immediately strikes me that the poem is far more musical — at least, as Reznikoff performs it — than it is often given credit for being, full of internal rhymes, off-rhymes, and assonance. It reminded me of a medieval history or an epic. In some way though, and unintentionally I suppose, that is exactly what Holocaust is, the renewal of a bardic tradition that traces back to a time of lineages and monarchies: it is the preservation of history in verse form, a witness to our modern era and what was probably the defining event of the twentieth century.
Thanks to Ron Silliman for alerting us of this.
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