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Simpatico 277some of whom are internationally known: William Arrowsmith,Jonathan Galassi, Dana Gioia, Alastair Hamilton, Kate Hughes,Antonino Mazza, G.Singh, and Charles Wright. Italian poets linked toMontale by influence, stylistic or otherwise, have also appeared in anumber of book-length translations since the late fifties; GuidoGozzano (1883–1916), Giuseppe Ungaretti (1888–1970), SalvatoreQuasimodo (1901–1968), Lucio Piccolo (1903–1969), Sandro Penna(1906–1976), Leonardo Sinisgalli (1908–1981), and Vittorio Sereni(1913–1983). Here too the presses are varied and the translatorsaccomplished: Anvil, Carcanet, Cornell, Hamish Hamilton, Minerva,New Directions, Ohio State, Princeton, Red Hill, Red Ozier; JackBevan, Patrick Creagh, W.S.Di Piero, Ruth Feldman and Brian Swann,Allen Mandelbaum, J.G.Nichols, Michael Palma, and Paul Vangelisti.Eleven books by poets who can be described, without too muchviolence, as Montale avatars in English are currently in print, acouple with essays by him.Compared to the increasing interest that distinguishesMontale’s reception in Anglo-American culture, other postwartendencies in Italian poetry have received limited attention.Among them, experimentalism is remarkably underrepresented,given its importance in Italy. In a conservative estimate,approximately fifty poets writing over four decades can be classedin this category, making it a central movement in contemporaryItalian poetry. The first wave, sometimes called “I novissimi”(“The Newest”) after the title of an important 1961 anthology,includes its editor Alfredo Giuliani (1924–), Corrado Costa (1929–), Edoardo Sanguineti (1930–), Giulia Niccolai (1934–), NanniBalestrini (1935–), Antonio Porta (1935–1989), Franco Beltrametti(1937–), and Adriano Spatola (1941–1989). The second wave,which began publishing during the 1970s, includes NanniCagnone (1939–), Gregorio Scalise (1939–), Luigi Ballerini (1940–),Angelo Lumelli (1944–), Giuseppe Conte (1945–), Cesare Viviani(1947–), Michelangelo Coviello (1950–), and Milo De Angelis.There are also various other poets whose careers do not coincidewith these chronologies, but whose writing is marked by a strongexperimental impulse—Andrea Zanzotto (1921–), for instance,and Amelia Rosselli (1930–). The fact that these names are morethan likely to be meaningless to English-language readers ofpoetry is symptomatic of the poets’ current marginality (andperhaps that of any other Italian poet but Dante and Montale) inAnglo-American writing.