Posts Tagged ‘Amelia Rosselli’
AMELIA ROSSELLI, “GENERAL STRIKE 1969”
AMELIA ROSSELLI, "GENERAL STRIKE 1969"

….We had to express something better: allow ourselves   this rhetoric that was a howl of protest against undaunted   destruction in our frightened houses. (I lost that vertical love of solitary god revolutionizing myself in the people removing myself from heaven.)   —from Locomotrix: Selected Poetry and Prose of Amelia Rosselli, trans. Jennifer Scappettone  

THE HOUSE EXPOSED E DOPO
THE HOUSE EXPOSED E DOPO

How the writing of Marco Giovenale and other current Italian “poetry of research” can and has to be distinguished from Flarf, with which it identifies (to a certain extent): history. (fou / fenêtre) Glockenspiel – e nel freddo nel pieno è che il freddo è nel pieno della schiena: sulle scapole sulla spina per agosto […]

PAR TERRE AND PRISON
PAR TERRE AND PRISON

Much talk, at Barnard, about poetry and enclosure and prison, as a merely formal strategy, or a political one too?, amid my reckonings that Rosselli was responding to the aesthetics that just preceded hers. Philology and its shortcomings. Isn’t it the case that a writer responds to the just-passed Zeitgeist even when we can’t track […]

MATRIX
MATRIX

And this flight away, not toward (this being a recollection predated after the flood), the exquisitely hammered-away granite isle of perfect crossings will give rise to a conversation about compression: the constraint of the cube, on the one hand, producing energy by compression, and the infinite permutations of the grid.

A LANGUAGE FOR EVERY LATITUDE: ROSSELLI CONVENINGS AT BARNARD/COLUMBIA
A LANGUAGE FOR EVERY LATITUDE: ROSSELLI CONVENINGS AT BARNARD/COLUMBIA

I am finishing the lecture I’ve written on Amelia Rosselli’s composition of a cubic stanza, or chamber, as receptacle for a post-Fascist poetics—to be delivered this Friday into Saturday at the conference on her work. Those in New York City, please join us uptown from that frenzied Square for discussions of a poet who dreamt […]

STANZA AS JAIL OR A BALL
STANZA AS JAIL OR A BALL

“Stanza as Prison, Homicile, Cube, Sphere: Emilio Villa, Amelia Rosselli, and the Spaces of Post-Fascist Ytalyan Poetry” is the name of the talk I delivered tonight at the American Academy in Rome. Such rare pleasure to present, incommensurately perhaps given the material of dislocation, to a room full of neighbors, however hailing from the strange. […]

TORQUE
TORQUE

& the proposal some days ago to climb a sinuous Scarpa “tromba delle scale” / “conch-shaft of stairs— that’s how, late one night, we solved the phrase in translation of Amelia Rosselli’s “The Libellula”— wrong foot first: more infant steps up through the byways of history & love at first insight, & second & third.

IN MEMORIAM AMELIA ROSSELLI
IN MEMORIAM AMELIA ROSSELLI

Paris, March 28, 1930—Rome, February 11, 1996 On the fifteenth anniversary of a tragic death, a general strike brings 30 years of autocratic rule in Egypt down. Words, vs., not composed in vain. (Wall Street Journal, however: “US Stocks Climb Higher after Mubarak Steps Down.” vs. AR’s “I try one market—then I try the next….” […]

TOWARD AN UNWRITTEN SONG OF ANTI-FASCISM (MILAN-NY-ROME)
TOWARD AN UNWRITTEN SONG OF ANTI-FASCISM (MILAN-NY-ROME)

As recounted by Tullia Calabi Zevi (1923-2011), a song in Milanese dialect her freemason father said had been discovered on the walls of Corso Buenos Aires at dawn— before the family’s 1938 escape from Italy to NY, where they founded the Mazzini Society— Caro il me Benitute me cunscià pulitute me cala la pagate me […]

SHOULD’VE FOLLOWED THE CATS
SHOULD'VE FOLLOWED THE CATS

that reign in their shelter just inside the Aurelian walls— walls as continuous ancient plot of what Ersela calls “the infrastructure of paranoia” in a discussion of U.S. planning, over chard soup— so as we were saying, on the other side of an ad-hoc hairdressing outfit that unfurls on the benches that line the walls, […]

OFFICIALLY FORTHCOMING:
OFFICIALLY FORTHCOMING:

Locomotrix: Selected Poetry and Prose of Amelia Rosselli, now in transit across the waters: a decade in the making. “[T]he language in which I write at isolated moments is only one, while my sonorous, logical, and associative experience is certainly that of all peoples, and reflectable in all languages….” —Amelia Rosselli, “Metrical Spaces” Dancing as […]

FOCUS: HEARTH
FOCUS: HEARTH

Refocillate, dug up in the colonial dictionary as a word Donne liked: re-enfocus, to warm into life once more, reanimate, comfort. ….Afterwards of joy sank hell after paradise the wolf in its hole. After the infinite was the merry-go-round. But the lamps fell and the beasts were refocillated, and the wool was prepared and the […]

PROPAROXYTONE HEART
PROPAROXYTONE HEART

And never ever ever a dull moment when it comes to translation of another’s passion and mind: “Lo sdrucciolo cuore che in me è ribelle,” or “The proparoxytone heart that is rebel in me,” from Amelia Rosselli’s Documento, indexing a heart whose antepenultimate syllable is stressed, as do words not often in Italian but in […]

ESTERINA:
ESTERINA:

An apparition in Milan, her adolescent banks turning unliquid in a landed metropolis of lobbies requisite chic, reflected in the freshness of a cosmopolitan woman poet over twenty years of age— nearly “Christmas cake“— who composed pink difficulty (though unfortunately, in translation I was obliged to use the term “rose”). Nonprogress: in the brand-new vortextual […]

PANEGYRIC
PANEGYRIC

Trip to the Ghetto fish market in tandem with translation of a “Panegyric to Liberty” —subtitle to Amelia Rosselli’s poemetto “The Libellula” (oscillation between libellula (dragonfly, corporal, adderfly) & liberty, libel, & libellare—Latin for setting into text) —yanking the classical eulogy, panegirico, down to earth as the giro del pane, or circuit of daily bread. […]

DOCUMENT
DOCUMENT

Afternoon of rushed exposure to perspectives multieval into the exile of an author whose work arrived to me, a decade til recently, in practically biographiless, iconoclastic form, the box dragged across Rome vis-a-vis a friend’s mom, acquaintance, it turns out, vis-a-vis Emily D., with the highlight the certainty, glimpsing four angles in a small album, […]

VIA DEL CORALLO
VIA DEL CORALLO

…And if limping paisans are these verses it is because we’re ready for another history we know perfectly well we’ll ultimately do without, the instinct for instantaneous rhyme lost because rhythm had ultimately been eyeing you from the start. —last lines of Amelia Rosselli, from “Impromptu”

FLUCTUANT
FLUCTUANT

From Giorgio Colli‘s 1948 Physis kryptesthai philei / La natura ama nascondersi / Nature Loves to Hide, picked up in the music room while waiting in the phenomenally, otherwise maddeningly downtempo national library for an ordered tome: “Such a vertiginous multiplicity of historical lines of sight, through which entire worlds of concepts are constructed on […]

LACE
LACE

Puncturing a lacelike series of holes in the triumphalist rhetoric of the Olympics anniversary: Nadia Zonis on traffic, shantytowns and the death of the leftist opposition in 60s Rome. Making sense of these lines from Rosselli’s “Rimai, verso una proda” / “I rhymed, versus a shore”: A red ardor each form of its perfect sense […]

ESOPHAGEAL

The last conversation at the ever longer ever echoier cortile dinner table concerns the locus, function, and etymology of the esophagus, which, as Seth confirms after a run to the library across the way, means “into” + “devouring.” (Devouring, a carnal act, as opposed to the more potentially acculturated “eating.”) In the talk piece floating […]

STRALUNANTE
STRALUNANTE

Veering here toward the end of the introduction to a decade of translation, a commitment happily nowhere near finita, finished, at least in the slangy figurative sense. Sporadic flights between bio-bibliographical tinkerings back to Impromptu, Amelia Rosselli’s final flood of a poemetto, composed in the dark period following the “delitto Moro” committed by the Red […]

TRALAPPIO

This morning (a week ago) I am exchanging messages with poet/critic/translator Marco Giovenale in Rome regarding the neologism “tralappio,” which appears in the opening lines of Amelia Rosselli’s 1979 poemetto called Impromptu—famously written in a sitting, just like Bernadette Mayer’s Midwinter Day. I thought that I might manage to pass over this challenge in silence […]

INTIMIST
INTIMIST

On the elimination of the I and thou in poetry, as sought out by Amelia Rosselli.


OIKOST