Journal of Italian Translation

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English Translations of Poems by Giovanni Raboni by Michael Palma Michael Palma has published The Egg Shape, Antibodies, and A Fortune in Gold (poetry); translations of Guido Gozzano, Diego Valeri, and other modern and contemporary Italian poets; and a fully rhymed version of Dante’s Inferno. His translation of Giovanni Raboni will be published this year by Chelsea Editions. Giovanni Raboni, born in Milan in 1932, worked as an editor and critic. His many volumes of poetry are gathered in Tutte le poesie (1951-1998), which was followed by a final collection, Barlumi di storia, in 2002. He also published translations of Baudelaire’s Les Fleurs du Mal and Proust’s A la recherche du temps perdu, among many others. He died in September 2004.
Giovanni Raboni The more I have read, thought about, and translated the poetry of Giovanni Raboni, the more convinced have I become that he is one of the great poets, and perhaps the single greatest Italian poet, of our time. This judgment was confirmed by Mondadori’s decision to include him in its Meridiani series of standard Italian writers while he was still alive, a fact about which he seemed a bit shy but justifiably quite proud, when I met with him for the second (and last) time in Milan in February 2004—although, sadly, he did not live to see its realization. W. H. Auden, the English-language writer that in some ways Raboni most resembles, famously set out five criteria for a major poet, which can be summarized here as copiousness, “wide range in subject matter and treatment,” “originality of vision and style,” mastery of technique, and development. Raboni, I believe, more than fulfills all of these expectations, and it is this depth and variety in his work that I have tried to communicate, both in the book-length selection I am preparing and in the cross-section of that manuscript presented here. From the terse lyrics of his earliest phase to the experiments with widely varying line lengths and mixtures of colloquial and arcane diction, from the scores of sonnets written in his forties and fifties (a trend toward formalism that reversed the movement of so many of his American contemporaries) to the reminiscent poems of his last collection (itself reminiscent of Lowell’s Day by Day), his work is a rich blend of constancy and change. In keeping pace with it, I have tried also to keep pace with the smaller effects on which the larger ones often depend—not just the hendecasyllabic undercarriage and the rhymes (where they occur), but also the parallelisms, the alliteration, the abrupt tonal shifts, the restless enjambment that characterizes so many of the sonnets, and so on. Technique, of course, is merely a means to an end, and it is the ends that I have tried most to reflect—the striking and often quirky angle of insight peculiar to his vision (and now and then simply peculiar); the passionate moral, social, and political concern; the preoccupation, at times almost an obsession, with illness and death; the tenderness of late love. These are the things that impress us most forcefully and remain with us most deeply as we watch Raboni bear witness to the private pains and joys of his life and to the public shames and outrages of his times.
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