Translation from Italian & Commentary by Peter Valente
[These poems are part of a sequence whose central focus is Pasolini’s love for the young actor Ninetto Davoli. They are selected from the 112 works that exist in various states of draft and revision, most of them written during the filming of the “Canterbury Tales” in England and completed on Pasolini’s return to Italy. The last poem in the sequence is dated “February 1973.”]
[TRANSLATOR'S NOTE. In 2002 I was asked to contribute to Alec Finlay’s edition of translations by several hands of Paul Celan’s poem “Irisch.” While working on my translation (which duly appeared in the second volume, Irisch (2), Edinburgh 2002), I began to work on other dimensions of the poem, then of other Celan poems. The present homeophonic translations are one result.
[The excerpt below comes from the introduction to Carr’s and Robinson’s Active Romanticism: Essays on the Continuum of Innovative Poetry and Poetics from the 18th Century to the Present, which University of Alabama Press will be publishing later this year. Designed as a followup to Poems for the Millennium, volume 3, in which Robinson & I tried to create an assemblage or anthology of romantic & postromantic poetry, this volume will bring together essays & critical work by a number of poets & scholars: Dan Beachy-Quick, Jacques Darras, Rachel Blau Duplessis, Judith Goldman, S.P. Jarvis, Andrew Joron, Nigel Leask, Jennifer Moxley, Bob Perelman, Jerome Rothenberg, Elizabeth Willis, and Heriberto Yépez. (J.R.)]