Here’s the river which widens my gaze, which flows through my forehead. Each time I await it. I know when it’s coming because the rails make a different noise on the bridge. Next to my seat is a small suitcase. I packed it, knowing I was leaving.
—from Ecco il fiume the mi allarga lo sguardo/Here’s the river which widens my gaze
The flow of time, seasons, energy. Movement through space, life and form. Franca Mancinelli’s The Little Book of Passage—Libretto di transito—begins with what appears to be an evocation of the minute rituals of travel: the suitcase packing, the waiting , riding a train, walking along a river. But the journey soon becomes one that spirals through intimate encounters with the domestic and the natural, reaching toward an internal, essential experienced reality. This small, dual language Italian/English collection of brief, fragmentary prose poems contains, within thirty-three brief one or two paragraph pieces, subtly toned, ever shifting passages that extend beyond the horizon of the printed page.
In his introduction, translator John Taylor offers a perfect illustration of the ineffable quality of this work:
As in her verse poetry, which similarly points to silence as it sketches moods, daydreams, and fantasies set amid carefully observed daily scenes, Mancinelli’s short prose revolves around unvoiced centers and disturbing causes which cannot be wholly defined yet which have come to the surface, as it were. As the reader meditates on them, they reveal their intricacy and mystery. That is, wordless centers full of emotions, thoughts, perceptions, and even unimaginable acts—those pertaining, for instance, to the loss or lack of something or someone essential.
This is easy to acknowledge a priori; in the reading, rereading, and returning once again we are increasingly aware of the unsettling and exhilarating otherness at the heart of all that we know or think we know in the act of being and engaging with the world.
Mancinelli’s language is characterized by an exactness, pointing to the simplest of acts and the most fundamental relationships, and yet the angle of perspective shifts. The poetic voice slides from “I” to “you”, sometimes reaching toward another, sometimes reflecting back to the speaker. Other pieces take the first person plural, the speaker and another perhaps, lover or child, or a more open and general “we”? Both or neither? No matter, the effect is one of blurring distinctions and encompassing the reader in the flow of images.
Nature is vital. It absorbs and infiltrates all that we are and what we do in her vision. The most basic everyday task becomes a transformative experience:
I force myself to put on clothes, shoes. I still grow in the darkness, like a plant drinking from dark soil. Getting dressed demands losing the branches extending into sleep, their most tender leaves open. You can suddenly feel them falling like an unexpected winter. At the same time you also lose the tail and the wings you had. You feel it happening somewhere in your body.
—from “Indosso e calzo ogni mattina/As if I always had another number, another size”
There is a restlessness, a yearning in these poems. Movement, travel, transience. But to where or to what, even the poet seems uncertain. Or content to leave connections unresolved. The precision of her prose casts sideways glances at implied, inferred, unspeakable sensations. And in the grasping for a language, a grammar, to touch this point where tangible meets intangible, the threshold of the physical and the mental or spiritual, her imagery grows more dreamlike, more abstracted:
The fault line is inside you, it is widening. A chilly gust of wind blows through your ribs and is decomposing you. You no longer have an ear. Your neck has vanished. Between one shoulder and the other one opens a darkness peopled with shivers, with voices calling out from branch to branch, on a sheer slope uncrossed by human steps. (87)
—from “Nel tuo petto c’è una piccolo faglia/There is a small fault line in your chest”
Life is a series of passages. Arrivals, leavings and transitions. We often make allusions to one kind, even a profound passage like birth or death, to speak to another. This series of delicate poetic prose pieces invites you hold each one, like a shard of glass, and allow it to refract and distort reflected light and meaning.
Italian poet Franca Mancinelli is the author of two previous collections of verse poetry. The Little Book of Passages, translated by John Taylor and published by The Bitter Oleander Press, represents the first appearance of her work in English.