Maurizio Brancaleoni's blog. Reviews, interviews, and translations. Bilingual. Un blog di Maurizio Brancaleoni. Recensioni, interviste e traduzioni. Bilingue.
Marina Pizzi is
simply one of the best contemporary Italian poets. Unfortunately, only few of
her poems have ever been translated in English and that is one of the reasons
that pushed me to make this effort. Another motive is that while in general
Pizzi’s syntax has a solid stone-like nature which suits English very well, her
lines are extremely polysemic, ambiguous, and full of poetic inversions, which
means that a non-native would have a hard time trying to interpret certain
passages or grasp the whole range of nuances and meanings. This selection has
been guided by personal taste. All the poems were originally published in
electronic format. The titles of the (e-)books from which they are taken are
given both in Italian and English. I hope this book will find its readers in
this big, crazy e-maze.
* Every translation takes a lot of time and
work. If you have enjoyed this free e-book, donate via PayPal or Ko-fi to support the
blog. Any amount you choose to give will be greatly
appreciated. *
Quasi
epigono di Kerouac nel suo periodo di ritiro spirituale/artistico, Kim Ki-duk è
immerso nella natura e vive in maniera molto semplice in una baracca (o in una
tenda all'interno della baracca); come lo scrittore americano si guarda
attorno, taglia la legna, accende la stufa, mangia, si ubriaca, soprattutto
pensa. Poi la confessione, la biografia necessariamente parziale (in entrambi i
sensi) e capiamo che il ritiro è più inevitabile che voluto. Il suo soliloquio
spontaneo (apparentemente dialogo fra lui e un altro lui, lui e la sua ombra,
lui e noi) cattura, conquista. Non c'è più bisogno del film, questo è già un
film senza esserlo. Kim Ki-duk è completamente onesto con noi? Non più di
quanto ciascuno lo sia con sé stesso. Quant'è vero il dramma? Le lacrime? Lui
stesso ammette di aver pianto la prima volta per esaltare l'effetto drammatico.
Eppure la disperazione "naturale" del regista, ma soprattutto
dell'uomo, è palpabile. Se c'è finzione, è minima, quasi inesistente. Anzi,
serve a rendere le cose ancora più vere.
Arirang -
pezzo tradizionale coreano - diventa così il suo canto di angoscia personalizzato
e di nuovo - come sempre, per tutti - il problema, il sunto, la parola è
"solitudine". E "auto-tortura". Il regista è personaggio, è
persona comune - uno di "loro" - proprio perché parla di sé con sé
stesso, delle sue delusioni, delle sue tristezze, del suo male di vivere
personale e al tempo stesso comune, ordinario e tanto più terribile. La
conclusione è la parodia di un gangster movie con tanto di cattivone stereotipato,
ammazzamenti e finto/vero suicidio. "Ready, action!". BANG.
Oltre il
film e il documentario, “Arirang” è un’opera tanto più grezza quanto più
efficace in cui la vita è sia fonte che materia.
***
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Scrittore
statunitense di origini native, Adrian C. Louis nasce nel 1946 nello stato del
Nevada. Laureatosi in Scrittura creativa alla Brown University nel Rhode
Island, affianca all’attività letteraria quella di giornalista e insegnante. Due
volte vincitore del prestigioso Pushcart Prize, Louis ha pubblicato numerosi
libri di poesia, ma anche un romanzo, Skins (1995), di cui è uscita un’omonima
trasposizione cinematografica nel 2002, e una raccolta di racconti, "Wild
Indians & Other Creatures" (1996). Caratteristico dell’opera di Louis è il
contrasto tra una realtà prosaica e disperante dove regnano consumismo e
omologazione e ciò che resta di una spiritualità quasi estinta.
* Tutti i
diritti sono riservati. Le seguenti traduzioni non possono essere riprodotte in
alcuna forma e su alcun supporto senza previa autorizzazione. *
Hai un testo da tradurre dall’inglese o dal tedesco? Mandamelo in un file Word a mbmbrancaleoni@gmail.com per un preventivo senza impegno. Per ulteriori informazioni: https://leisurespotblog.blogspot.com/p/blog-page.html
Thank
you for agreeing to this interview. The first question is pretty
obvious: Why is your page called ‘Thee Nd’? Is it just a play on
the pronunciation or is there a more profound meaning to it? Is it a
reference to global pollution and its terrifying consequences or a more private
matter?
The answer is yes to all of the above meanings, Maurizio,
and including my initials into the mix. The genesis being having watched the
completion of many films and there graphically would be my initials in capitals
and I liked how it looked and sounded and meant in my head and have used THEE
ND as my artist name since I started making art, and as time has progressed, it
has become even more evident and to me that – yes - it is now sadly a statement of the decline of
our civilisation and our planet as we knew it .
What is
it that usually prompts you to take a picture and how important is the
subsequent editing phase?
I am surrounded by beauty and precious moments.
Things, scenes, happen spontaneously around me, I rely on chance, serendipity
and opportunity. I take
pleasure in capturing and creating the very beautiful and the inescapable
through image though not always necessarily by intention, but as I have
observed it is a consequence of many factors and some additional unexplainable
force. Culminating in a photo collage or the basis for a design, or pure
straight unadulterated photography.
One of
your favourite subjects is the forest raven. What is a ‘corvus tasmanicus’
to you?
They are absolutely fascinating to me, though I cannot
say I am the same to them ha! As they are very furtive and highly alert
beautiful creatures, and resist any possible contact, and they are very aware
and wary of me photographing them …these particular Raven's eyes have a bluish white sclera and you can see and feel
their strong life force and intensity. I am very fortunate as I live very
close to the edge, on a clifftop, at bird height, overlooking the sea, which
has a very old gnarled casuarina tree which lurches out over the cliff and
"my Ravens" thankfully continue to visit it …ever suspicious of close
encounters, I must photograph them through my house's large windows, or I can
capture them in flight during their travels, or photograph others roadside
eating roadkill carrion of possums and wallabies …they seem to appear everywhere
I go - even in the city !
Nature
in all its forms (landscapes, animals, natural phenomena) seems
to play a pivotal role in your art. Besides, these photos alternate with
depictions of plants releasing gases in the air. Do you seek to raise awareness
of what we could lose in the not-so-far future?
More-so
statements ... I am glad if I do raise awareness about "The Great
Decline". Nature and all that word encompasses is moment by moment
threatened, and being irreversibly destroyed on all fronts, it is losing
against Man's unstoppable disregard and insatiable greed ...I am pessimistic
about any retrievable outcome or viable reversal of it.
Throughout
the creative process, when do you know that you’re done with a photo and that
what you’ve got is exactly what you wanted to obtain?
What is stimulating to me is the not knowing, light
bulb moments, in being surprised, watching lucky "accidents" occur, -
and for the feeling of knowing when an image is complete in itself.I wholeheartedly
agree with the great Jean Cocteau that "Art is a marriage between the
conscious and the unconscious."
I’ve noticed
you also took pictures of the Pausiris mummy exhibition at the
MONA. What is your relationship with your surroundings and
your country and to what extent do you think place and local history and
traditions influence the individual, both in a positive and a negative way?
Ah the wonderland masterpiece that is David Walsh's
and architect Nonda Katsilidis’s xMONA+ ! - to which I am a frequent visitor
and great admirer - and not just for the art exhibited there as xMONA+ is the
product of combined personal vision artfully executed making its vibe
extraordinary ....now Pausiris lies serenely sombre, secreted below in his
chamber there, suspended in centuries of time and timelessness, it is a
powerful exhibit ...and I visit the chamber to feel it ....
I really
love Tasmania and I am very fortunate and appreciative of living here even though
it has an extremely unpleasant early history during the British colonisation of
it and their deliberate genocide and atrocious treatment of the original
inhabitants ...to me there is no lingering pall, just a strong bridging
connection with all past inhabitants particularly felt through
experiencing the same topography, nature, seasons and skies.
Nowadays
an enormous number of people are able to share their artistic
output but making even little money out of it to pay the bills
seems to be harder than ever, even for the professionals. Do you think
governments should support and encourage noteworthy artists without
connections?
Yes - and
by doing so it also reinforces the value of Art.
