The poetic work of Paul Celan (1920–1970), the German-speaking author of Jewish descent, through its dialogicality often—in-directly: implicitly or explicitly—refers to philosophical thought: the poet was not only an attentive reader of philosophy, to which numerous, many times carefully annotated books of his extensive library bear witness, but also allowed his own creative word to respond to the multifaceted incentives of (the question/s of) thinking. Although Celan’s concern for philosophy entails almost its entire historical development, one can specifically discern a distinct emphasis also on authors affiliated with the phenomenological movement. Whereas the poet’s (crucial, for the self-comprehension of his artistry co-constitutive) relation towards the thought of M. Heidegger that led to their personal—by now nigh on mythical—meeting in Todtnauberg has already motivated countless discussions, Celan’s readings of, and responses to, the works of other phenomenological philosophers, such as E. Husserl, O. Becker, or even H. Conrad-Martius, have attracted merely a handful of interpretations. The proposed presentation will attempt to outline, first, the trace(s) of the influence of phenomenological tradition upon Celan’s oeuvre and, second, the effect(s) it may disclose within both his poetry as well as his (auto-) poetological writings. On the one hand, such a consideration can, thus, contribute a (small) chapter to the comprehensive history and historiography of the phenomenological movement. On the other hand, it can, however, also offer a new, renewed perspective on the fundamental issue of the relationship between poetry and philosophy that is, in Celan’s case, intrinsically connected with the problem of (the experience of) historical time, especially with regard to the event of the Holocaust.