Posts by Julia Pelosi-Thorpe

Translation Tuesday: “Matryoshka” by Marzia Grillo

Mothers’ lease contracts are printed in tiny, almost illegible fonts, punctuation arbitrary.

Rounding off our Translation Tuesday feature’s little Italian sojourn, we present the lilting prose of Marzia Grillo. “Mother” and “shelter” are her twinned themes—each contains the other perfectly, like synonyms, tautology, or an infinite matryoshka, and she demonstrates her point neatly with a text full of recursions, in which a mother’s housing houses housing mothers. Cosy!

My mother called to tell me my mother is dead?
—A.M. Homes

Houses were this: mothers. And matryoshkas were: continents, countries, cities, and wooden apartments—mothers’ furnished rooms.

All around she could see women carrying the future forward. Newborns hiding newborns yet to come, life germinating deep in springtime.

*

Seated at a coffee shop belonging to another generation, she leafed absent-mindedly through PortaPortese. The rentals section was filled with ads for mothers—one-bedroom apartments, studios, central heating, fireplaces. She’d have liked some above-fireplace shelving, for knick knacks and keepsakes. As she warmed herself she could watch a parade of her old mothers inside the Panasonic frame they’d given her years ago. Mothers small, big, bright, ancient. Mothers different to one another; some welcoming, others bare. She’d not need a television.

On her finger she wore a wedding ring that wasn’t hers: inheritance or hereditary? Her parents had been as mistaken about her as they had about themselves, cradling after their own bad choices as if she could right a wrong. And since apples don’t fall far from the trees that nourished them, she’d decided to live in a rose garden. She’d covered herself with thorns, starving but intoxicated by her self-sufficiency.

*

Since receiving the eviction notice, she’d started losing weight. At first strikingly, and then gradually, one pound at a time. Her first step was to stop drinking alcohol, as if she were pregnant. She’d say to waiters: “I can’t drink. It’s not official yet, but…” They’d congratulate her, serve more attentively, with fervour, voraciously beaming, dazzled by life. Since hearing she’d no longer have a home, she’d become hope in the eyes of the world. She carried this in her womb as she dwindled.

Do you remember sardines? she’d say to the mirror. She remembered this was what you called the residents of crowded houses but it was a misnomer. Cans aren’t mothers. They are just cans, no matter how crowded. READ MORE…

Translation Tuesday: “a wicked king” by Lucia Marchetti

With Italy in lockdown again as it battles a third wave of COVID-19, Lucia Marchetti urges hope in the following response to the pandemic.

For two and a half months last year, we curated the series: In This Together: Writers From Around the World Respond to the COVID-19 Outbreak, featuring writers from Argentina to Portugal to Hong Kong. One year on, with Italy in lockdown again as it battles a third wave of COVID-19, we present another piece responding to the pandemic, tinged with hope, by Italian poet Lucia Marchetti in the endangered language of al djalètt pramzàn, spoken in the province of Parma in Italy’s Emilia-Romagna region. This poem was published as a voice recording by local newspaper La Gazzetta di Parma at the pandemic’s outbreak last year. Co-translator Julia Pelosi-Thorpe writes: “In it, Marchetti describes COVID as the crown (wordplay with ‘corona,’ ‘crown’ in Italian) on the head of a wicked king. This poem is co-translated by me and my mother, Ligia Pelosi. She grew up near Parma, and migrated with my nonni to Naarm (now known as Melbourne), where I was born, as a young teenager. After I produced a first full draft, my mother and I listened together, capturing any missed or misheard words. I then revised the piece into a final draft.” 

 

a wicked king

reviews a not-too-distant world

a bad king 👑corona👑 on his head

sowed death

among humans

swelling like a moonlit tide and all

the population were divided friends

and kin watching one another from a distance

here a situation very grey yet king

with his 👑corona👑 still advancing

advancing bringing grief and ruin

and bit by bit the people were dismayed

then when they really understood

their lesson all was suddenly recalled

so many seaside trips recalled lovely trips

up and down the mountains and their unrest

to find a place to live a cornucopia

they realised happiness had

been close in so many moments

wishing to go back

from the bottom of their hearts feeling the burst again

wishing to tell all they love them

to embrace the first person found along the street as if a cousin

to celebrate a life renewed

 

Translated from al djalètt pramzàn by Ligia Pelosi and Julia Anastasia Pelosi-Thorpe

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Translation Tuesday: “What I see” by Beatrice Cristalli

You see, even if I don’t see you / I know you’re breathing inside of us.

Love in the time of lockdown is given voice in Beatrice Cristalli’s “What I see,” this week’s Translation Tuesday selection. Written in response to the COVID-19 crisis in Italy, the poem’s speaker prefaces the piece with a philosophical declaration about fate—through subtle and clever enjambment (the power of the poem’s one punctuated line: “Right?”), this musing becomes the speaker’s guiding question. The poem flows through possibilities and memories, to and from that one pivotal inquiry. Seemingly mundane objects—a toothbrush, a comb, a jumper—are charged with new emotive meaning as they evoke the processes brought about by the lockdown: leaving. Absence. And remembering. The speaker, trapped in the moment when these objects were fixed in place by circumstance, longs for the safety of a missing love.

What I see 

They say all’s subjective
But things play parts in fate
Right?
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Translation Tuesday: “Perspective” by Maria Borio

that their borders invert onto one another as they age

This week’s Translation Tuesday features the work of Italian poet Maria Borio. This translation of Borio’s work is deft, bringing out the implausibly smooth staccato of the original Italian. The mix of rhythm and flow in the poem is incapsulated by the symbol of the train that cuts and blows as it glides. Here, the movement of images works to push the boundaries of the movement of thoughts: brackets set off points of views that read almost like cinematic direction, suggesting that the pure movement of the verse—and thought—are always conditioned by some perspectival imposition. Come aboard Maria Borio’s powerful train of thought.

Perspective

The horizon line seemed the border of the world
halted midst your pole and the sea. The sea curving since

the earth is a globe, suspended between nose and horizon hands
fist fight, thrusting images of inconsistency against
[the horizon.

READ MORE…