Like Leaves in Autumn by Carlo Pirozzi et al sampler

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their use relying more on the evocative power of the sounds, reduced simply to phoné, a pure issue of voice like the ‘final vowel’ in the first line of the last poem written by another giant of poetry, Seamus Heaney. In Heaney’s ‘Banks of a Canal’, pure sound seems to have the power of ‘towing silence’, of silencing the entire world: Say ‘canal’ and there’s that final vowel Towing silence with it, slowing time To a walking pace, a path, a whitewashed gleam Of dwellings at the skyline. World stands still. The ‘world stands still’ while the demiurge poet is grappling with the naming of the world and the emptying of semantic language, with the death and rebirth of the word. We are witnessing a dramatisation of an expectation of meaning. Returning to Ungaretti, this poetic validation and obliteration of the world is the essence of his poetry, and shows that his work goes beyond the life of one man because it belongs to all time: The poet goes there and then returns to the light with his songs and scatters them there As a conclusion and as a tribute to Scottish poetry, these lines from ‘The Buried Harbour’ can be set alongside some lines of another soldier poet, from another war – the Second World War: Hamish Henderson. He was one of the fathers of Scotland’s 20th-century folk renaissance, and also the first translator of Gramsci into English. One of his poems ‘Under the earth I go’ seems to have been inspired by and blends with the above verse by Ungaretti: Maker, ye maun sing them… Tomorrow, songs Will flow free again, and new voices Be borne on the carrying stream. 22 like leaves in autumn
Eterno giuseppe ungaretti Tra un fiore colto e l’altro donato l’inesprimibile nulla eterno 35
Page 3: giuseppe ungaretti (1888-1970) is o
Page 6 and 7: Published in 2015 by Luath Press Lt
Page 9 and 10: Contents Preface by Carlo Pirozzi 1
Page 11 and 12: Sono una creatura - I am a Creature
Page 13 and 14: Preface carlo pirozzi The present p
Page 15 and 16: War and Poetry john burnside There
Page 17 and 18: In the pages of literary history, G
Page 19 and 20: A Note on Ungaretti’s Life and Po
Page 21 and 22: the moving epithet, Vita d’un uom
Page 23: homeland just left (‘Levant’);
Page 27 and 28: August Sander · Studien - Der Mens
Page 29 and 30: Commentary j.l. williams I have hea
Page 31: Luath Press Limited committed to pu

Like Leaves in Autumn by Carlo Pirozzi et al sampler

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