The Collected Poems of Lucio Piccolo

The Collected Poems of Lucio Piccolo

BRIAN SWANN
RUTH FELDMAN
WITH A FOREWORD BY GLAUCO CAMBON
AN AFTERWORD BY EUGENIO MONTALE
Copyright Date: 1972
Pages: 216
https://www.jstor.org/stable/j.ctt13x12xz
  • Cite this Item
  • Book Info
    The Collected Poems of Lucio Piccolo
    Book Description:

    "In Piccolo's poems we meet a Sicily latent in the country of the tourist guides and the history books, but it was Piccolo far more than, say, his cousin Lampedusa, who was destined to draw out the latencies, read the signatures, crack the code....These brilliant translations will serve to introduce a whole new sensibility to Anglo-American readers."-Anthony Burgess

    "Faithfulness, a loving adherence, a communion with and an entering into the spirit of the original are what we look for in a translation. We find these qualities abundantly in this rendering of Lucio Piccolo's poetry by Brian Swarm and Ruth Feldman. And we find yet more: a welcome clarification, for though Piccolo's poetry-one that tries to capture in a subtle web the atmosphere of a bygone world-is not obscure or oblique, yet, like all significant poetry, it is here and there open to a number of interpretations. Swann's and Feldman's translation, or interpretation, seems to me always felicitous and intelligent."-Arturo Vivante

    Originally published in 1973.

    ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    eISBN: 978-1-4008-7070-7
    Subjects: Language & Literature

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. TRANSLATORS’ INTRODUCTION
    (pp. v-vi)

    Lucio Piccolo presents a special difficulty for the translator. At first glance, however complex the syntax or elusive the thought, he seems old-fashioned, evenfin-de-siècle,fantastically and arcanely baroque. And yet, further acquaintance reveals that his main thrust is post-existential (“anxiety” is a key word): that, for instance, in his constant search to distinguish outer and inner reality, he has affinities with such a conjurer as Nabokov. His efforts to describe consciousness are of a piece with Nabokov’s attempt inAdato encompass “the Texture of Time.”

    Thus, although Piccolo is typically solid and specific in his task, at times...

  3. ACKNOWLEDGMENTS
    (pp. vii-viii)
  4. Table of Contents
    (pp. ix-2)
  5. LUCIO PICCOLO, A FOREWORD
    (pp. 3-9)
    GLAUCO CAMBON

    I first heard of Lucio Piccolo from Eugenio Montale in 1955, before the publication ofBaroque Songs,and the air of secret surprise in the established poet’s fireside talk when describing his visit with the then unknown fellow-artist still hovers for me around the late Sicilian baron’s work. The published part of it amounts to three thin volumes of verse:Canti Barocchi(Baroque Songs) of 1956,Gioco a Naseondere(Hide and Seek) of 1960, andPlumeliaof 1967. Nine poems had previously been privately printed in Palermo, as a booklet which was to become part of the later Milan publications....

  6. Hide and Seek (1960)
  7. Baroque Songs and Other Lyrics (1956)
  8. Plumelia (1967)
  9. Afterword for Baroque Songs and Other Lyrics
    (pp. 197-205)
    Eugenio Montale

    On April 8, 1954 I received a small book which bore a name unknown to me: Lucio Piccolo. It was enclosed in a yellow envelope, sealed, unfortunately; with a 35-lire stamp. In order to redeem it I had to pay 180 lire more. The book, entitled 9lyrics, printed on only one side of the page in worn and barely legible type, bore no inscription but was accompanied by a letter. It stemmed from Capo d’Orlando (Messina), and had been printed by the Stabilimento Progresso-Santa Agata. The typography was no better than that of Dino Campana’sCanti Orfici,published at...