Dation / performance in the work of Paul Celan: readings through Derrida and Blanchot

Critical bibliography on poetry and theory of poetry in Paul Celan's works is at present extensive and noteworthy. However, it is far from being considered everything said on a work whose relevance still raises interest, under or beyond paradigmatical critical reviews to a work that transgress even the idea of poetry before his lyric. If his poetry is possible "after Auschwitz" is because it turns to some other direction and makes it possible some other approaches though they couldn't deal with its radical may be absolute plurality. Derrida's thought proposes the poem's dating and its possibilty/impossibility. That consideration could be registered, shifted, again started through a difference -that is its same direction- related to Blanchot's poem-homage-essay, that duplicates Celan's performative writing, just another possibility in a may be infinite chain of readings. Celan-Derrida-Blanchot: a non-ending shifting in the search of the poem that doesn't exist, of some gesture that doesn't extinguish and still shines, in the encounter.