She discusses Sigmund Freud's theory of trauma in Beyond the Pleasure Principle and Moses and Monotheism; the concept of reference and the figure of the falling body in Paul de Man, Heinrich von Kleist
, and Immanuel Kant; the narratives of personal catastrophe in Marguerite Duras and Alain Resnais' Hiroshima mon amour; and Jacques Lacan's rethinking of trauma in his interpretation of Freud's texts.
John Banville's decision to adapt Heinrich von Kleist
's plays, Der zerbrochne Krug (1811), Amphitryon (1807), and Penthesilea (1808), as The Broken Jug (1994), God's Gift (2000), and Love in the Wars (2005), respectively, was perhaps partly inevitable, given the recurring presence of the German playwright's work in his fiction and, more generally, the centrality of overt intertextual gestures in his work.
Our sample, made up of 3x3x3 poets (Irina Andone, Dimitrie Anghel, Thomas Lovell Beddoes, John Berryman, Paul Celan, Thomas Chatterton, Hart Crane, John Davidson, Sergey Esenin, Benjamin Fondane, Randall Jarrell, Heinrich von Kleist
, Vachel Lindsay, Gherasim Luca, Lucan, Vladimir Mayakovsky, Gerard de Nerval, Cesare Pavese, Sylvia Plath, Sappho, Daniil Scavinski, Anne Sexton, Ion Stratan, Sara Teasdale, Georg Trakl, Marina Tsvetayeva, George Vasilievici) is sad testimony to such a deadlock but, as an excuse for the Poet, we will take the liberty to paraphrase La Rochefoucauld and say that Poets are not those which have "more virtue" and more of sanity than common souls, but "only those which have greater designs."