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What this approach fails to capture is the interpretative act that is involved when taking a source text as complex and poetic as the Inferno. I have looked at each Italian word and selected a semantically equivalent word in English. What one learns is that Dante, because of his skill in allegorical writing, his phenomenal memory and his poetic abilities, requires a transla- tor who can shift between the words, lines, strophe, canti, cantiche, really the entire Divina Commedia to build an edifice that can sup- port multiple and, at times, conflicting interpretations and poetry.
Ciardi -0 Consider how your souls were sown Hollander -2 Consider ye the seed from which ye sprang Longfellow -2 Consider well the seed that gave you birth Mandelbaum -2 Consider what you came from: you are Greeks! Harris Rackham. Apparently it was not the sweetness of their voices or the novelty and diversity of their songs, but their professions of knowledge that used to at- tract the passing voyageurs; it was the passion for learning that kept men rooted to the Sirens' rocky shores.
The saturation of the Commedia with flight imagery—Ulyssean flight imagery—is due to the importance of desire as the impulse that governs all questing, all voyaging, all coming to know. Ha studiato presso la University of Western Ontario dal Ha conseguito il M. Dal traduce non-profit testi poetici in lingua inglese. Le traduzioni sono state pubblicate su varie riviste italiane.
Here the earth is rich in cold black forms, rolls to the movement of the hip and thigh. And here it strikes your eye as a page as you write upon it now in new forms. These plants and trees become words, the hills and ponds, the heart and eyes.
The land is new in this strange light where the city no longer holds, but you stand alone before the horizon and the light sounds above the earth in the clarity of a chime. And you write upon the wide earth under the silver span of sky, over the rolling land where now you feel the rim of the circle and the power of line The Cup Steam rises from the cup, hieroglyphics in the air, shadows on a golden page. Steam rises from dark coffee, mist from a still lake — shadow across mountain slope.
Look before you drink, blue-gold ideograms painted on porcelain. Queste piante e alberi diventano parole, le colline e gli stagni, cuore e occhi. Prima di bere guarda, gli ideogrammi azzurro-oro dipinti sulla porcellana. Silence To be in touch with things mist bathes the coast of the world. Should I type tonight, cause the Chinese man to waken. Upstairs a boy cries out from a nightmare, his Japanese mother slips out of bed. Soon she will stand before the waterfall in the rock gardens of Kyoto.
The little boy will say hello to the ancient guard of the gate. My typewriter is a silent temple, blue mist drifting across a distant shore. Snow Are there not treasures in the snow? It awakens me to colour and forms a bright context out of its anonymity. Beneath its smooth surface I see idiosyncrasies: microprisms breaking into chromatic scales…myriad globes glowing …glacial spores blossoming … What I love is the mathematical precision with which it cov- ers the earth in frozen solutions.
As I walk across the tabula rasa, deeper into the shifting planes, there is a geometric excitement — fine logarithms, musical phrases, a wonderful amnesia. Snow- flakes, words tumble — changing infinities in fin-like speed.
New possibilities whirl out of violet haloes and the Milky Way. Silenzio Per essere in contatto con le cose la nebbia inonda le coste del mondo. Dovrei dattiloscrivere stasera, far svegliare il Cinese. Di sopra un ragazzo grida per un incubo, la madre giapponese sguscia fuori dal letto. Mi ridesta la cognizione del colore e forma un contesto brillante dalla sua anonimia.
Sotto la sua smerigliata superficie scorgo idiosincrasie: micro-prismi si frangono in gradazioni cromatiche Carousel of evening horns and bells. You cover everything in a philosophical eloquence, a great white alibi. Midnight My favourite hour. How comfortable to sit here listening to the refrigerator humming, the syncopation of the clock, the midnight bus braking: the warming up of an orchestra. Today we painted a wall, not much mind you -- but those old green flowers are finally gone.
We can hang pictures there. But to get back to midnight, not the beach, but the wide red table that spreads before me like a mesa. In the landscape are walnuts, green grapes, Spiderman, and wooden Russian dolls.
My thought stops. I step outside myself. I am the stranger walking by the sea. Midnight, my favourite hour, when the refrigerator is an Arctic piano. After the hockey game last night, I drove out into the unrecogni- zable mauve city. On the edge be near the power, not the guardian of thought. Be the stranger, the reader. Come, the scherzo is over. Already the drum of the clock is fading and the piano plays softly like a cardiogram.
Listen, the late night bus revellers, the voices of sleep. The clock steps draw you closer to the waves. Fatigue, like a friend, takes you into the weird night, childhood. Now after travelling all day, relearn the world. Stranger, the sea is here. Forget, and welcome JIT Carosello di campane e corni vespertini.
Ogni cosa ricopri con eloquenza filosofica, un immenso alibi bianco. Dopo un lungo giorno di viaggio raggiungo la costa e scruto scuri flutti del sonno. Ma per tornare a mezzanotte, non la spiaggia, ma un vasto tavolato rosso che mi si schiude innanzi come una mesa. Nel panorama ci sono noci, uva verde, Spiderman e matrioske di legno. Il pensiero si ferma. Esco da me stesso. Sono lo straniero che cammina lungo il mare. Sulla cresta del monte, il ragazzo e la ragazza hanno bevuto, ballato e cantato nel vento.
Sulla cresta sii presso il potere, non custode del pensiero. Sii lo straniero, il lettore. Spossatezza, come un amico, ti conduce nel cuore della notte strana, infanzia. Ora dopo aver viaggiato il giorno intero, riapprendi il mondo. Dimentica ed ac- cogli. Slowly, in pieces, it comes back It gushes out in spurts, and we cup water in our palms.
I taste the water, splash it on my face, open my eyes through dust, and see again: the school, the football field with the sagging uprights, the grey gravestones leaning beyond the waving wheat. Here I stand in the full sunshine; I am ten, at the crossroads of Emery. Me ne sto qui, in pieno sole; ho dieci anni, al crocevia di Emery1. Interviewer: Stan Burfield, Organizer of London Open Mic Poetry Night […] LH: When we moved up to Emery, in it was the place on the border of the country and the city—the place in transition from the world of the old to the new.
It was an exciting time because we had the freedom to roam through the fields, along the hills, through the orchards, and follow Humber River. It was much later that I discovered the history of this place. I searched for and interviewed the farmers from that area and many poems came out of this research. They were published in my poetry book Emetry, Black Moss Press, She is the author of several col- laborative volumes and of Io era una bella figura una volta: Viaggio nella poesia di ricerca del secondo Novecento Scritture, She has recently published the English language edition of the anthology I Novissimi.
His research interests include experimental Italian and European writings, and translation studies. He is the editor of several books and antholo- gies of Italian poetry, and the author of Scrivere contro Scritture, He has recently published the edition of Luigi Ballerini. She first started writing poetry while still in high school.
At nineteen, she married Alfred Muller Sexton, and they had two daughters. Martin Orne, to encourage her to take up poetry again. Her work was well re- ceived since the beginning, and she had poems accepted by The New Yorker and the Saturday Review among others.
Sexton later studied poetry with Robert Lowell at Boston University, where she met other poets, among whom Sylvia Plath. Her Selected Poems were published by Oxford University press in Just two years later she won the Pulitzer Prize in poetry for her third book, Live or Die Among the many prizes and recognitions she received were the Levinson Prize, a Guggenheim Fellowship, and the Shelley Memorial Prize. She was also the first woman mem- ber of the Harvard chapter of Phi Beta Kappa.
She died in , in Weston, Massachusetts. Late August, I speed through the antiseptic tunnel where the moving dead still talk of pushing their bones against the thrust of cure. And I am queen of this summer hotel or the laughing bee on a stalk of death. We stand in broken lines and wait while they unlock the doors and count us at the frozen gates of dinner. The shibboleth is spoken and we move to gravy in our smock of smiles.
We chew in rows, our plates scratch and whine like chalk in school. There are no knives for cutting your throat. I make moccasins all morning. At first my hands kept empty, unraveled for the lives they used to work. Now I learn to take them back, each angry finger that demands I mend what another will break tomorrow. Of course, I love you; you lean above the plastic sky, god of our block, prince of all the foxes. The breaking crowns are new that Jack wore. Your third eye moves among us and lights the separate boxes where we sleep or cry.
What large children we are here. All over I grow most tall in the best ward. Your business is people, JIT In piedi, in righe sfilacciate, aspettiamo che aprano le porte e ci contino davanti alle gelide inferriate della cena. Arriva la parola magica e ci muoviamo verso il sugo nei nostri camici di sorrisi.
Mastichiamo a ritmo, i piatti stridono e gemono come gessetti sulla lavagna. Non ci sono coltelli per tagliarsi la gola. Io faccio mocassini tutta la mattina. Le prime volte le mani restavano inoperose, disfatte dalle vite per cui erano solite lavorare. Certo che ti amo; tu che ti affacci da un cielo di plastica, dio del nostro reparto, principe di tutte le volpi. Le corone rotte indossate da Jack sono rimesse a nuovo. Il tuo terzo occhio vaga tra di noi e illumina le segregate scatole dove dormiamo o piangiamo.
Che bambinone che siamo qui noi. Il tuo lavoro sono le persone, JIT Out in the hall the intercom pages you. You twist in the pull of the foxy children who fall like floods of life in frost. And we are magic talking to itself, noisy and alone. I am queen of all my sins forgotten. Am I still lost? Once I was beautiful. Now I am myself, counting this row and that row of moccasins waiting on the silent shelf.
Kind Sir: These Woods For a man needs only to be turned around once with his eyes shut in this world to be lost… Not til we are lost It was as if every pine tree were a brown pole we did not know; as if day had rearranged into night and bats flew in sun. O Mademoiselle, the rowboat rocked over. Then you were dead. Turn around once, eyes tight, the thought in your head.
Kind Sir: Lost and of your same kind I have turned around twice with my eyes sealed and the woods were white and my night mind saw such strange happenings, untold and unreal. Ti liberi dalle mani di bambine-volpi che cadono come fiotti di vita nel ghiaccio. E noi siamo magia che dialoga con se stessa, sola e a voce alta. Io sono la regina di tutti i miei peccati dimenticati. Sono ancora persa? Un tempo ero bella. Oggi sono me stessa, mentre conto questa e quella fila di mocassini che aspettano sul silenzio dello scaffale.
Era come se ogni pino fosse un palo bruno che non conoscevamo; come se il giorno si fosse fatto notte e i pipistrelli volassero nel sole. Girare su se stessi una volta, a occhi chiusi, un pensiero [fisso in testa. Gentile Signore: Perduta e simile a te ho girato due volte su me stessa con gli occhi chiusi e i boschi erano pallidi e la mia mente notturna ha visto eventi strani, irreali e mai sentiti prima.
The Kite West Harwich, Massachusetts, Here, in front of the summer hotel the beach waits like an altar. We are lying on a cloth of sand while the Atlantic noon stains the world in light. It was much the same five years ago. I remember how Ezio Pinza was flying a kite for the children. None of us noticed it then. The pleated lady was still a nest of her knitting.
Four pouchy fellows kept their policy of gin and tonic while trading some money. The parasol girls slept, sun-sitting their lovely years. No one thought how precious it was, or even how funny the festival seemed, square rigged in the air.
The air was a season they had bought, like the cloth of sand. I mean, it was different that time with Ezio Pinza flying a kite. Maybe, after all, he knew something more and was right. Ci sdraiamo su un telo di sabbia mentre il meriggio atlantico macchia il mondo di luce. Pressappoco era lo stesso cinque anni fa. Ricordo Ezio Pinza che faceva volare un aquilone per i bambini.
Nessuno ci aveva fatto caso allora. Quattro tizi panciuti continuavano a ordinare gin and tonic mentre si scambiavano dei soldi. Voglio dire, era diverso allora con Ezio Pinza che faceva volare un aquilone. Words are like labels, or coins, or better, like swarming bees. I confess I am only broken by the sources of things; as if words were counted like dead bees in the attic, unbuckled from their yellow eyes and their dry wings.
I must always forget how one word is able to pick out another, to manner another, until I have got something I might have said Your business is watching my words. But I admit nothing. I work with my best, for instances, when I can write my praise for a nickel machine, that one night in Nevada: telling how the magic jackpot came clacking three bells out, over the lucky screen.
But if you should say this is something it is not, then I grow weak, remembering how my hands felt funny and ridiculous and crowded with all the believing money. Ma non ammetto nulla. The black room took us like a cave or a mouth or an indoor belly. I held my breath and daddy was there, his thumbs, his fat skull, his teeth, his hair growing like a field or a shawl.
I lay by the moss of his skin until it grew strange. My sisters will never know that I fall out of myself and pretend that Allah will not see how I hold my daddy like an old stone tree. Noon Walk on the Asylum Lawn The summer sun ray shifts through a suspicious tree. La stanza buia ci accolse come una caverna o una bocca o un ventre chiuso.
I hear green chanting all day. I will fear no evil, fear no evil The blades extend and reach my way. The sky breaks. It sags and breathes upon my face. There is no safe place. The Road Back The car is heavy with children tugged back from summer, swept out of their laughing beach, swept out while a persistent rumor tells them nothing ends. Today we fret and pull on wheels, ignore our regular loss of time, count cows and others while the sun moves over like an old albatross we must not count nor kill.
There is no word for time. Today we will not think to number another summer or watch its white bird into the ground. Today, all cars, all fathers, all mothers, all children and lovers will have to forget about that thing in the sky, going around like a persistent rumor that will get us yet. Tutto il giorno sento il suo canto verde.
Il cielo si spezza. Oggi le macchine, i padri e le madri, i bambini e gli amanti dovranno scordarsi di quella cosa nel cielo, che gira e come un rumore persiste e alla fine ci prende. He is also seeking a publisher for two poetry collections that he has written, Country of Mongrel and No Depres- sion Music.
Loscalzo is also the author of five books on ancient Greek lyric poetry and ancient Greek theater: La Nemea settimana di Pindaro Viterbo, , La parola inestinguibile. Loscalzo contributes to the Italian poetry website www. His other books include compendia of cultural history such as What Are the Seven Wonders of the World? He also coauthored a collection of fifty essays on Italian civilization, Sprezzatura: 50 Ways Italian Ge- nius Shaped the World , which has been used as a college text, and has published numerous translations in JIT and other venues, including selected cantos of his verse translation of the Inferno.
Despite a host of glorious cultural achievements by which Italy continued serving as Magistra Artium to Europe, the Italian sixteenth century was also a melancholy era of foreign invasions and conquests that saw the duchy of Milan taken twice by the French and subsequently by Charles V, Naples become a Spanish viceroyalty, and Venice defeated by the League of Cambrai.
Enforced religious ortho- doxy was a major outcome of the Council of Trent, and its bible was the Index of Prohibited Books first compiled by Della Casa in Maybe my JIT There he was tortured six times with the strappado after being falsely accused of having joined a conspiracy against the return of Medici rule to Florence in In that same year, Michelangelo wrote a son- net on the martial papacy of Julius II, brimming with images of sacrilege, simony, and a violent and thoroughgoing avarice and materialism.
The titanic artist did not foresee any more commis- sions from Julius after his completion of the Sistine ceiling in , and indeed Julius died in the following year. Pietro Aretino was an assiduous contributor to Pasquino, and the two initial pasquinades below are attributed to him. The first, a tailed sonnet, was posted during the conclave of , after the death of Leo X, and purports to explain why it was proving so difficult to choose a successor.
The second refers to the burning at the stake for heresy of the Humanist and religious reformer Aonius Palearius Antonio Della Paglia in July during the reign of Pius V. In addition to his famed manual of manners, the Galateo, Giovanni Della Casa wrote a considerable amount of poetry, fashionably obscene in his youth and, as in the pair of sonnets here, movingly somber in later years.
Like Horace, Luigi Tansillo hailed from Venosa but established himself in Naples at an early age and became a prominent Neapolitan Petrarchist, as that tradition was modified by Pietro Bembo. His long poem in ottava rima, Il vendemmiatore , was placed on the Index of Prohibited Books by the above- mentioned Paul IV in for lewdness. These walls here harbor such enormous lice that, to me, they seem the size of butterflies; nor was there greater stench at Roncesvalles, or in the carrion pit outside of Florence, than in this dainty inn where I reside, whose noise is like when Jove unleashes lightning and Vulcan hammers anvils inside Etna.
Michelangelo Buonarroti Rome under the Warrior Pope, Julius II Here chalices are changed to swords and helmets, and the blood of Christ is sold in bucketfuls; the cross and thorns become lances and shields; and even so, his patience showers down. The reason is, that this one always keeps a wife nearby, and that one touches boys, and one pontificates on tasty morsels, another boasts of gluttony for peaches.
So that a way should be found to choose, outside the conclave, a good shepherd for inheriting the keys of St. O world in ruins, O misguided times, O specious hope, O vain and empty thought— the mighty Roman name lies in the dirt, surrendered as prey to barbarous furor. If no one quickly comes to vindicate this host of painful injuries we suffer, all those who honor you, Peter, are unjust.
What shame like this has ever stained the pages of ancient or of modern history? And thus the sun does wrong to shine today. To reason, sons, should not be your desire— The remedy for reason is the fire! Where is the silence that flees both day and light? Alas, in vain I call on you—in vain I flatter these cold, dark shadows.
O bed rife with bitterness! O cruel, painful nights! But more than you, I freeze outside and in, because my winter brings a crueler Eurus, [East Wind] a longer night, and colder, leaner days. Let things impossible be possible— since in just one day the green desire died that blossomed sixteen years within my mind. Eilis has presented papers at numerous con- ferences around the world. Il dono Ada Negri published her book of lyric poetry Il dono1 in in the midst of political turmoil.
She died in , shortly after the fall of fascism. The title of her collection refers to the gift of life that God has granted to all living organisms. As in her earlier writing, some of her poems touch upon issues of social injustice, and in particular, poverty. However, her work primarily intertwines the themes of God, nature, and the afterlife. Her allusions to the afterlife suggest that she is preparing for her own death.
Whereas in her previous poetry she expresses fear of the afterlife, it is a fate she faces with calm and curiosity in Il dono. Fountains sing at crossroads chirping softly, high towers blur horizons, and, when my heart is heavy they sweep me up towards the clouds.
They dart, swift, your alleys, and they intersect like a labyrinth, and upon the walls hang wisteria and honeysuckle, and from secret gardens, trees of lush foliage loom large. From that greenery comes the fresh swishing of birds, a fragrance of flowers and fruits, a sense of untouched refuge, where life is unaware of tears and death.
Much more becoming are beautiful gardens, if hidden. Everything appears more pleasing, if I see it in dreams. And for me it is enough to pass along walls warmed by the sun, to lose myself in your alleys that slither like snakes through verdure of secret gardens from a story, crimson Pavia, city of my solace.
Autumn Rain Tonight I heard, between wake and slumber, a song soft, subdued, and yet vast as the vast world, and immersed in dream it seemed to me to sail in a boat without oars on a silvery sea, into a veil of rain. It was rain, yes, but on a sea of lush foliage whispering in darkness of welcomed renewal. The first rainfall of autumn, after a scorching summer all feverish from the sun, and now it carries on in ashen sunrise, and each tree that receives it cries.
But that cry is laughter, profound, unquenchable, of a woman JIT I would like, autumn rain, to be a leaf that soaks you into its fibers that join it to a branch, and the branch to a trunk, and the trunk to the earth, and through its veins you pass, and expand, and a great thirst you allay. I know you announce winter, soon that leaf shall fall, the color of rust, and mix with mud, but it will nourish the roots of the trunk so to sprout again from branches in spring.
I would like, autumn rain, to be a leaf, to lose myself in your downpour, certain that I will not die, that I will not die, that I will change only in form as the earth will have seasons, and a tree will have leaves. I wonder which moon is real. Sky and lake create an open blush-blue shell that offers twin pearls to my enamoured eyes. Wings do not flit, wind does not whirl, nor do sails float by, or leaves of weeping willows shiver along shore.
A single nightingale sings softly from a cypress tree, with a voice so pure that I think I have departed, and that this is the place where soul unites with absolution. They were like the sky, almost ashen in the sun, and small, flying low over fields and flowerbeds, delicately flowing in unison, a dance from a dream. Who knows why, that year, endless steel-blue butterflies like your eyes?
And were two of those wings, perhaps, not your eyes, locked behind long lashes? And where are your eyes now, where are those azureous butterflies, and the air that I breathed warmly next to you? He spent two semesters in Bologna as an exchange student and three semesters in Brescia as an English teaching as- sistant docente madrelingua , as part of the Pacioli Site Program.
Elio Fiore was born in Rome in During the Allied bombing of Rome, he and his mother were trapped beneath the rubble of their working class home in San Lorenzo for several hours before being rescued and hospitalized. Three months later, living with his grandmother in Trastevere, Fiore witnessed the roundup of more than 1, Roman Jews. He started writing at a young age, winning a prize from Radio Italiana, at age His first collection, Dialoghi per non morire, was published in , receiving acclaim from Giuseppe Ungaretti and Carlo Levi.
Fiore was a close personal friend of Sibilla Aleramo, Camillo Sbarbaro, Eugenio Montale, and Mario Luzi, all of whom corresponded frequently with Fiore and held him in high esteem. After stints as a factory worker in North and South Italy, Fiore returned to Rome where he published numerous poetry collections while working at the International Fellowship of Reconciliation library. He passed away in In , Edizioni Ares published his Complete Works.
Acre odore emana da lo stelo Acre odore emana da lo stelo dalla radice che non conosce vomero, la granadiglia matura di memorie; e non smette la saliva di concepire frutti di fugaci stagioni. Che aspetti a morire? Ovunque, che io sappia da qualunque parte, dopo falciate nasce consacrato a Cerere, un lievito.
Lontano andavi. Vicino a te, sento perfetta unione, concretarsi alla terra, agli uomini che amo, mia unica voce Dino, una chimera nuova. What are you waiting for to die? Everywhere, in every place I have been, after the scythe has passed a leaven sacred to Ceres is born. Is this supple wicker the haze in the banks of Us? Second Dialogue: Aided by the Tuscan Sky Aided by the Tuscan sky in the spring of my life I go to Badia a Settimo to see what has become of that wandering fulvous poet: — cursed cherubim soothed by the weight of a gray stone — how my soul spreads wide secret words, intense in their love of prayer: I want to know if the music of my voice will be fulfilled.
This cold engraved stone, its disenchanted reverberations carry me to the hermitage of torment: Mad Orpheus, Sibilla called you, delirious lover of Hyperborean lands and peoples, solitary and disheveled in a carriage, violet in eye and song, you went. You were going far. Close to you, I feel a perfect union becoming concrete on earth, the people I love, Dino, the only voice I have, a new chimera.
Corrose scale che sapete quante anime negli abissi dei secoli mi creano, in me non siete, nella salita, crescita di solitudine. Corroded steps, you know how many souls the abysses of the centuries have created in me. You are not in me, climbing growth of solitude. Tonight, memory becomes a new historical consciousness, and divinity is word validated. My life — I think of unrest of conflict of blood in Jordan of horrific enmities — reader, may inspiration reach you safely in my early youthful verses, in the collection which we will make together: dialogues against death: here are all my possessions, the accent generated living water of my actions, agreements with reality.
Here is what everyone, in taking words in, knows JIT Le Murge Un giorno Le Murge, terra dura ondulata di sassi e sterpi, ondulata di mandorli tutta sole. Un fanciullo con le sue pecore andava: il sangue dei morti ricreava nel suo volto nuovo e lo sguardo disteso sulla terra, lo sguardo smuoveva nel sole i sassi gli sterpi i millenni di orrori. Sono uomini, questi sono uomini, hanno radici gli ulivi fino al mare su questa terra ondulata ondulata di mandorli tutta sole.
Those are men covered in black their nails are black they have their land — asphodels blossom pink, sepulchral — in the brookless sun, a tragic land root of olive trees. A child was walking with his sheep: the blood of the deceased recreating in his new face and his gaze stretched out over the earth, his gaze shifting in the sun boulders dry branches millennia of horrors.
His eyes were looking for joy in the sun. They are men, these are men the roots of olive trees reach the sea in this wavy earth waves of almond trees all sun. Dal monte al piano allegro scende il gregge e nelle piane, vivamente salutano i pastori il mandorlo in fiore: la geometria dei colori la memoria aiuta e la miseria, ricca di necessarie assurde emigrazioni.
Aiuta la natura giudiziosa a maggio, gli arbitrari aridi sentieri tra le muricce, ossa gialle di luna piena. Qui un viso modesto rammenta un limite oscuro, un silenzio del mare presente. Ha sui dialetti il silenzio, forza di animi disparati parole di occhi, termini sonnacchiosi, dolenti. Una matricola Un uomo timbra ogni giorno ogni giorno e sotto i colpi muore ogni giorno. Mi chiede spiegazioni con ansia dice: Mi tremano i polsi, il sangue il sangue freme nelle vene! To walk among shadowy carobs sweet to the moon, among olive trees and the damp leftover hay in the stalls: is a lamp not, then, in the dark a sign?
In ancient times, this gloomy earth infused a strange guilt in men, different, always conceived to centuries without reason: water was the only source, rare, the only revival. In the naked cemeteries they are used to listening — wherever the language of grain grows in plains conceived by the sea — to the minutest details of essences the faithful farmhands considered eternal.
From the hill to the joyful plane, the flock descends and in the plains, vivacious shepherds greet the almond tree in flower: the geometry of color comes to the aid of memory and misery, abundant in its [necessary absurd emigrations. Judicious nature helps May along, the arid arbitrary paths between the crumbling walls, [yellow bones of the full moon.
Here a modest face recalls a dark limit, a silence in the present sea. Silence has its dialects, strength of disparate souls, words of eyes, terms sleepy and doleful. Twenty-eighth Dialogue: A Serial Number A man punches in every day every day and beneath the blows he dies every day. A powerful light is in his eyes a light, a truer job. In the cafeteria he eats hurriedly and, gauges the break.
This young man opens a constant book, he listens and reads carefully, the verses of the Iliad. He asks me for explanations anxious he tells me: My wrists are shaking, my blood my blood is quaking in my veins! Un uomo timbra ogni giorno ogni giorno e sotto i colpi muore ogni giorni. A man punches in every day every day and beneath the blows he dies every day.
A powerful light is in his eyes. Thirtieth Dialogue: Ravenna Space the sky lightning the sun the moon wind the sea the earth fire hurricanes thrown down by harmonies of spheres. Bell towers sprout from underwater crypts and from the ancient sarcophagi another faith is revived. Here the night the stars descend into us and the greenest pine grove spreads its needle choir. You walk in the dark streets, alone and, from the walls, so dear, shadows whisper immobile the love that moveth the sun and the other stars.
Edith Bruck, born Edith Steinschreiber, is a holocaust survivor whose adopted home is Italy. She was born in in Tiszabercel, Hungary. In she and her family, including her parents, her two brothers, and one of her sisters, were deported to Auschwitz. Edith and her sister Eliz survived and were liberated by the allies in She returned to Hungary and was reunited with her remain- ing family who had survived the war; from there she immigrated to Czechoslovakia.
When she was sixteen, together with other relatives, she immigrated to Israel. She was divorced for the third time by the age of twenty, and in she immigrated to Italy. She also met and married her fourth husband, the Italian poet and director Nelo Risi. Bruck narrates her childhood before her deportation and the continuing hostility of Europe toward the survivors, even after the war.
Bruck has published poetry, stories, novels, and articles, all in Italian, and has worked on several films as a director and screenwriter. She continues to live in Rome. Milano: Garzanti, Da Serie compleanno p. Da Neurosi pp. Milano: Garzanti, From Birthday Series p. From Neurosis pp. I nuovi comandamenti p. The New Commandments p. Tesio Udine: Campanotto, ; Controcielo, grotesque novel, preface by F. Brevini and note by A.
Serrao Milan: Scheiwiller, Spagnoletti e C. Vivaldi, eds. Milan: Garzanti, The poems printed here come from Controcore. This is a bastard child of a perennial world, unconscious victim of the she-wolf mother unnature? It does so via his inexhaustible inventions of turns-of-phrase and metaphors against a baroque backdrop that is, literally, black-and-blue. Here, an endless neologistic and JIT This poetry plucks the strings of the ludic and the tender without languishing into mawkishness. Brevini, Le parole perdute, cit.
Piga, La poesia dialettale del Novecento, cit. Brevini, in Nuovi Argomenti, 47 July-September Maffia, in La barriera semantica, cit. Si fa chiaro quel gran dolore che fa tremare. I cani allampanati hanno un andare sbilenco e incrociano gli umani sentieri. Il vento viene da infinite leghe e si disperde al crocevia fino al momento del supremo andare che ci fa uomini.
Night is gentle, limpid, no dreams. I set out alone to meet the broken dawn. The thought of the moon hovers and light flows in its nuances. The ghosts of things swarm, shades withdrawing from shadows of annunciation of day I revive in the fancy conjured by the world and who-knows. Translated by Justin Vitiello Scattering The shaded sky sheds the moon. The pain that wracks us clarifies. Lean and hungry dogs weave, cross paths cut by hands.
Wind rises from infinite compounds and scatters at the turning point, that moment of the supreme adventure that makes us human. Translated by Justin Vitiello The Cold That holy cold that dries your heart and the sudden frost, quick deep freeze of Bohemian droplets on the branches of the Pincio Wine and host in church and tavern JIT Il freddo.
La carne e il sangue fatti parola. La gloria e la fiacca. Flesh and blood become word. And us, bone-deep, passing through the needle-eye of super-starry heavens that go lunatic. The grass shivers in auroral chill He went to school in Gorizia and Pisino, in Istria, and after the war he got a degree in philosophy in Rome with Giovanni Gentile.
His first book, Fiuri de tapo is from , and La ghirlanda de gno suorecame out only ten years later. Yet rarely has a poet been as consistent with himself as Marin: one could change at will the date of publication and it would be difficult besides the external facts of his biography to establish the period of the writing, already mastered at the start, identical with itself in that relationship between self and landscape that characterizes every book and has made his work unique in Italian literature.
His poetry winds endlessly over a stretch of land inhabited by the wind and the seagulls, the tides and the light, the clouds and the smell of algae. If the tension towards the Absolute undergoes an acceleration, because of external factors and long meditations, the Heraclitean river inside him swells and widens, breaks the embankments and overflows, until it becomes liturgy, as Brevini says, until it turns poetry into JIT His poetry is a rumble that breaks into streams and every stream has its own path and subtle veins, rebounds and colors, but at a certain point the vari- ous branches go back to where they came, so that the magnificent immense tree keeps on producing but forbids the birds to use its branches, the wayfarer to enjoy its shade, the farmer to take its wood.
In , with the death of his only son, Falco, his horizons be- come open wounds and his gaze clouded Giotti too had similar sorrows , but in the end the power of the gulf wins out, the call of the abysses experienced as counterpoint, as the possibility of dying in order to find oneself intact in the circuit of beings purified and ready to sail again.
But even the sunlight that lifts up our spirit we must yet live, suffer and cherish. Be not afraid to go hungry and never drink the waters of life; the sun and sky are also water that never tires of the flowing. There is no stillness, no respite nor rest: each day just concluded rapidly fades in an hour.
Then rejoice and be glad since all and nothing will pass, and may your steps travel light at each turn of the hour. Abruptly her melody covers the village with melancholy: her voice enchants every heart which now flows like pure crystals in this autumn sky. He did his studies at Nicastro and Monteleone, two centers rich with humanistic culture. It complemented the Risorgimento and Garibaldian tradition that marked his national-popular development.
He in- terrupted his studies for military service. Having emigrated to the U. In the U. In he moved from Brooklyn to Omaha Nebraska , and then to Chicago. He died in Chicago on April 18, His marked interests for the legacy of the Risorgimento and Garibaldi, rooted in a humus genetically motivat- ed by socio-anthropological stimuli, contributed to turn into protest the post-Risorgimento disappointments; which, however, were expressed in formulas oscillating between lyric elegy and almost naturalistic attitudes of protesting representation.
One seems to find in it and this is the best part the popular intonations of the storytellers of the time, which contributed to bring the region out of its isola- tion by drawing on a lymph with different manifestations in the South, especially between Naples and Palermo, and responsible for a healthy growth of dialect itself, which through that route found the impetus for an expressionistic experimentation capa- ble of achieving modern solutions even through contamination.
Falcone and A. Piromalli Soveria Mannelli, , who con- tribute two stimulating introductory essays on which cf. Reina,in Poetica, , Rocca Musa silvestre, ; then reedited by F. Costanzo, Rome Dante Maffia JIT His hair is really white, but he has dyed it with some kind of cream, and his pointed beard has been smoothed down and tarred on every side. He is of the same height as was Napoleon but much more skilled, more able to be sure He had a lot of courage He showed great courage when he was a boy and went hunting for wolves all by himself deep in the woods or over a high cliff at ten he hunted brigands and destroyed them.
Almost as if you had really mentioned a powerful magician, or the Ogre, because all the people here, dear reader, both good and bad see him as predestined. O brother, what a fig-pecker! She hurls flames from her eyes, worst than a cat; too bad she is a widow; but young girls in looks and grace cannot hold her hat. O brother, what hocks this mare unfurls.
Her hair is dark and thick, by all admired, and she has graceful breasts and lovely cheeks. I stalk and chase her, but she sneaks away. Her husband, having too often gone to Serrastretta, wasted away his life; he left her a mill, and his grieving wife has had to closed, because there is no one to work the hopper and let the water run. My little Brunette, should we make a pact? Thick forests, the most delightful verdure, green meadows Kiss the walls of the old house for me the log used as a stool before the fire, all the aunts, my dear uncle Luigi, night and day, a hundred times an hour.
When you hear the morning bell nearby, jump out of bed, open wide the balcony, greet the sun rising majestically from Cariglione towards the blue sky Oh, what a wonder was it to behold when he was young how many years ago? Sul versante italiano si ricordi che la prima edizione de I Sotterranei di Kerouac Feltrinelli, fu sequestrata dalla censura italiana. Should I be good? A Venezia dal 10 luglio , poeta e traduttrice si erano incontrati: Era stato con noi a colazione e a cena anche Gregory Corso, JIT Masters da cui era rimasta folgorata, che si era messa subito a tradurre e che sarebbe uscita da Einaudi nel in piena guerra e censura fasciste.
Felice di fare da padrino ad un libro einaudiano dal suc- cesso straordinario in Italia, Pavese evidenziava: la traduzione tutta pervasa di una gioia ingenua della scop- erta, che trascina e convince. Generosa, indimenticabile Fernanda! Music: U. And the Wright brothers were long forgotten in the high- flying bombers that now began to visit their blessings on various Third Worlds all the while claiming they were searching for doves of peace And they kept flying and flying until they flew right into the 21st century and then one fine day a Third World struck back and stormed the great planes and flew them straight into the beating heart of Skyscraper America where there were no aviaries and no parliaments of doves and in a blinding flash America became a part of the scorched earth of the world And a wind of ashes blows across the land And for one long moment in eternity There is chaos and despair And buried loves and voices Cries and whispers Fill the air Everywhere vv.
La critica italiana come ha accompagnato la fortuna degli scrittori Beat dalle riviste accademiche o dalle pagine culturali dei quo- tidiani? Si teme per la sorte di qualche mal- capitato che dormiva di sotto, ma fortunatamente tutto si conclude con molto spavento e qualche lieve ferita. Come definire questo stile? Diciamo uno stile beckettiano-futurista, intendendo per beckettiano il lato desolante-contemplativo e per futurista il lato vitalistico- turbolento Si enumerano: la vicinanza con la lezione del fratello maggiore W.
Il non breve saggio di Valesio rivela una evidente pregiudiziale da turris eburnea accademica unita ad altre osservazioni a dir poco discutibili. Si JIT Kerouac fu il primo ad andarsene, per cirrosi epatica, nel Fernanda Pivano, Diari , a c. I, Milano: Bompiani, , p. Barberis e L. Carra, Milano: Il Saggiatore, Diari, Op.
Cordelli, Op. Lawrence Ferlinghetti, Greatest Poems, A c. Allen Ginsberg, Poesie , A c. Some of his short stories have appeared in the major Italian literary revue Nuovi Argomenti as well as in the journal Il primo amore, ed- ited by Antonio Moresco and Tiziano Scarpa. His debut collection of short-stories, Le radici del mare, was published in by Italic Pequod and was very well received by critics and readers alike.
His second collection of short-stories, entitled Terre emerse, came out earlier this year and has already attracted praise from critics and readers alike. Leonardo is currently working on his first col- lection of poems as well as translating poems by Emily Dickinson, Seamus Heaney, Dylan Thomas among others. Edgar Allan Poe — was an American short-story writer, poet, critic, and editor who is famous for his cultivation of mystery and the macabre.
His tale The Murders in the Rue Morgue initiated the modern detective story, and the atmosphere in his tales of horror is unrivaled in American fiction. His poem The Raven numbers among the best-known poems in the national literature adapted from www.
An angel throng, bewinged, bedight In veils, and drowned in tears, Sit in a theatre, to see A play of hopes and fears, While the orchestra breathes fitfully The music of the spheres. Mimes, in the form of God on high, Mutter and mumble low, And hither and thither fly— Mere puppets they, who come and go At bidding of vast formless things That shift the scenery to and fro, Flapping from out their Condor wings Invisible Wo! That motley drama—oh, be sure It shall not be forgot!
With its Phantom chased for evermore By a crowd that seize it not, Through a circle that ever returneth in To the self-same spot, And much of Madness, and more of Sin, And Horror the soul of the plot. But see, amid the mimic rout, A crawling shape intrude! A blood-red thing that writhes from out The scenic solitude!
It writhes! Out—out are the lights—out all! And, over each quivering form, The curtain, a funeral pall, Comes down with the rush of a storm, JIT Si torce! Tra spasmi mortali i mimi diventano il suo cibo, piangono i serafini mentre affonda i denti nella polpa umana.
Spente, spente le luci! E su ogni forma tremula il sipario, orma funerea, si abbassa con fragore di tempesta, JIT On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece, And the grandeur that was Rome. Ah, Psyche, from the regions which Are Holy-Land! Annabel Lee It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know By the name of Annabel Lee; And this maiden she lived with no other thought Than to love and be loved by me.
Ah, Psiche, da regioni che sono Terra Santa! The angels, not half so happy in Heaven, Went envying her and me— Yes! But our love it was stronger by far than the love Of those who were older than we— Of many far wiser than we— And neither the angels in Heaven above Nor the demons down under the sea Can ever dissever my soul from the soul Of the beautiful Annabel Lee; For the moon never beams, without bringing me dreams Of the beautiful Annabel Lee; And the stars never rise, but I feel the bright eyes Of the beautiful Annabel Lee; And so, all the night-tide, I lie down by the side Of my darling—my darling—my life and my bride, In her sepulchre there by the sea— In her tomb by the sounding sea.
Leonardo Guzzo is a writer, translator, critic and journalist. Some of his short stories have appeared in the major Italian literary revue Nuovi Ar- gomenti as well as in the journal Il primo amore, edited by Antonio Moresco and Tiziano Scarpa. His second collec- tion of short-stories, entitled Terre emerse, came out earlier this year and has already attracted praise from critics and readers alike.
Leonardo is currently working on his first collection of poems as well as translating poems by Emily Dickinson, Seamus Heaney, Dylan Thomas among others. Her scholarly and creative writing explore contemporary literature with a particular focus on poetry. Gli sembrava di aver agganciato le fondamenta della terra.
E che pesca meravigliosa, Dio che pesca miracolosa doveva essere. Non credeva davvero di incontrarla in quel posto. Il salto creava una specie di mulinello. La marea smetteva di avanzare frontalmente e si espandeva seguendo un moto circo- lare. E profondissima. Se non poteva andare lontano cercava almeno di andare a fondo. Era andato anche quel giorno. Senza scrutare i segni, come fanno di solito gli uomini di mare.
Senza darsi uno di quegli appun- JIT He held his footing, as a good fisherman does, as a grown-up man does who has seen it all. He stayed on his feet and knew that he was close to landing the catch of his life. One moment, he took off the mantle of misfortune and the next he was full of pride. Its jet black eyes glowed like live coals and its hooked nose gleamed like the beak of a bird of prey.
He felt like he had hooked into the foundations of the earth. And what a marvelous catch, God what a miraculous catch it must be. The spirit of resistance and the tempo of the movements made it very clear. The reel whirred frantically as the line ran down to the depths of the sea, unraveling almost to the end of the roll. And then it stopped and suddenly became taut, splashing drops of water in the air.
He had not expected to meet it in that place. Then nor ever, that wonder. Not there, at his home. But he was ready to swear, on what he held most dear, that the place was magical. It was no more than ten meters from the coast.
It was not hid- den, the way all magical places are. Nobody knew it was there, where the bay meets the open sea, a little further in, as soon as the tide lines appeared on the blurry mirror of the water. Where the waters met, a sort of whirlpool created. The tide lines stopped advancing and began following a circular movement. The water seemed dense and stagnant, yet it was just murky. And incredibly deep. They called that place salt-marsh a strange intersection of sea and swamp.
Without knowing that it hid, straight and sure, a path to the ancient depths of the sea bed. Nobody knew, except for the man, who had kept his trabucco there and explored that stretch of water, inch by inch, free diving. When he could not go far, he tried at least to go deep. He had gone out that morning as well, without reading the signs of the sea like fishermen usually do. Without making a firm appointment with luck. Without longing for escape JIT Senza agognare fughe e inseguimenti.
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