"Quella che va sola" di Fulvio Leoncini - 2014, tenica mista legno + cera, cm. 30x21, collezione privata http://www.fulvioleoncini.it/
POESIA 1a Classificata Poesia inedita
Premio Il Meleto di Guido Gozzano, Agliè (Torino)
Infreddolita, pallida, ansimante,
invano t'aspettai, il cuor batteva
forte ad ogni volto di passante
che tu non eri, eppure a te pareva.
La nebbia novembrina già calava
sul fiume, sulla nera mia figura
da musa del Boldini, che emanava
fascino oscuro, beltà senza paura.
Tormentando il bouquet, cercavo un viso
scavato, esangue, e mi chiedea perché
non comparisse, o Guido, il tuo sorriso
lieve, dietro al rigore dei pince-nez.
Pareva torturarti un'ossessione
di morsi sulla nuca e ardenti baci:
lusinghiera, crudele adulazione...
è facile, poetando, essere audaci!
Dove sarai adesso? Che farai?
Vivrai il tormento di saperti atteso
inutilmente, oppure bacerai
rime crudeli sul mio malinteso?
O su cocotte che non potesti amare
e sol per questo amar vorresti adesso:
fantasmi che ti fanno rinnegare
Amalia, e guardar vivere te stesso?
L'accidia di rinunzia dolorosa
che fa di me soltanto “un caro amico”,
un'illusione, una non colta rosa
che tu potresti coglier, maledico.
Mentre percorro mesta il Valentino
ragiono, con un brivido alla schiena,
sulla tua resa al tragico destino
e provo un aspro sdegno e tanta pena.
Io seduttrice, eccentrica, maliarda,
scriverò ancor, da nuovi amori accesa;
superba, come chi sorrisi azzarda
pur nello strazio. Amata e vilipesa.
Guido, a una sola donna cederai,
Signora che di nulla va vestita,
i suoi passi incombenti avvertirai,
e nell'abbraccio le darai la vita.
Nel mio salotto so d'essere attesa
da amici e vanità. Non mi consola.
Io t'amo, Guido. E mai sarò compresa:
sarò per sempre “quella che va sola”.
Dal corposo epistolario fra Guido Gozzano e Amalia Guglielminetti
risulta che nel corso della loro liaison, la poetessa diede appuntamento,
davanti alla Gran Madre di Torino, al poeta che non si presentò.
Il loro fu un rapporto più intellettuale e letterario che 'vissuto',
anche a causa della malattia polmonare di Guido, che, diagnosticata nel 1907, lo stroncò a 33 anni.
Molti sono i riferimenti alle tematiche gozzaniane, e soprattutto alla
rinuncia delle occasioni, alla presenza sempre più incombente della
Morte, dal Poeta anche raffigurata come "Signora vestita di nulla".
La metrica è quella di Cocotte che contiene il celebre, bellissimo verso
"Il mio sogno è nutrito d'abbandono.Non amo che le rose/ che non colsi, non
amo che le cose/che potevano essere e non sono state."
Amalia Guglielminetti volle che sulla sua lapide fossero incise queste
parole "Visse e morì da sola".
PTJ: When did you first start writing poems?
LC: My first encounter with poetry was back in the early '70s, when I went to London for an English summer course for foreign students. One of the teachers suggested a small poetry competition: we had to extemporize some poetic verses, and my poem "Rhythm of Life" was ranked among the best. Later, as a teacher myself, I taught creative writing courses. In my workshops I led my students to transform their emotions into short poems and - with the help of an art teacher - even into images.
PTJ: Who inspired your early work?
LC: My first poems were inspired by nature in all its aspects, wild and beautiful, but also by urban views, the same images, the same perspectives that had attracted the attention of Allen Ginsberg. His poem, Supermarket in California has appealed to me since the very first time I read it.
I have always written after experiencing a real emotion, according to William Wordsworth’s definition "Poetry is emotion recollected in tranquility.”
PTJ: Also you are an artist. Is there a link between both your poetry and your art?
LC: Poetry and visual art, in my case, proceed on parallel tracks. Today I mainly try to put into practice the principle enunciated by Aeronwy Thomas: "Artists and poets can experience moments of cross-fertilization," and I often look for inspiration at images of fine art photos or of paintings created by other artists or vice-versa. Sometimes the words of poets lead me to put on canvas the emotions they have called forth in me.
PTJ: Can you tell us about the founding of Immagine & Poesia, your wonderful poetry and art organization, and your aims for it ?
LC: Immagine & Poesia is a dream come true. It all started from a meeting with British poet Aeronwy Thomas during her visit to our school in Turin in 2006. She discussed "cross fertilization" between poets and artists, and this was the first step to the enthusiastic project of founding an artistic-literary Movement. Within one year, we had a “Manifesto” and the official presentation of Immagine & Poesia at Teatro Alfa of Torino.
Then a substantial encouragement to continue on this path came from the members of what I consider ‘’my American family” the artists of New York: Adel Gorgy and Marsha Solomon, Mary Gorgy, writer and journalist, and my American publisher Stanley H . Barkan. Recently artist and poet Caroline Mary Kleefeld from Big Sur, California, and Johnmichael Simon and Helen Bar-Lev, publishers of Cyclamens and Swords in Israel, have given their valuable support to the Movement.
And here let me thank you, Peter for being the representative and incomparable supporter of Immagine & Poesia in the United Kingdom.
Today, through the web, Immagine & Poesia has spread around the world and is known and loved by hundreds of artists and poets.
Mary Gorgy, official art critic of the movement, has summed up our aims: “This group of poets and artists believe that the power of the written word and the power of a visual image, when joined, create a new work which is not only greater than the parts, but altered, enhanced, changed and magnified by the union.”
We, the artists and poets of Immagine & Poesia, are convinced that Art and Poetry can bring together people of different cultures, nationalities, and religions and lead them to cooperate with reciprocal esteem and respect.
And we hope, in the near future, to achieve a movement that more and more leads people to be mutually appreciative and tolerant through the channels of the written word and visual images.
PTJ: You collaborated with several artists in your test book the I & P . Did you enjoy the experience ?
LC: My début book Immagine & Poesia - The Movement in Progress can be defined as a compendium of, as the Movement suggests, poems inspired by artworks and images by painters or photographers who have drawn their inspiration from my words. It has been a completely satisfying experience that demonstrates how valid and well-founded are the principles stated in our Manifesto.
PTJ: Your husband is an artist and your son is a photographer . What is it like being longer available to creative family and you comment on each other 's work ?
LC: We are a creative family and it is wonderful to share the love of poetry and art.
For several years the three of us have collaborated with the association " The Friends of Guido Gozzano " of Agliè (Torino) and each of us has brought a contribution – a painting, a fine art photo and a poem – on the occasion of the annual Prize “Il Meleto di Guido Gozzano.”
We carry out our work independently, but at the end we usually realize that we have worked on the same wavelength…
PTJ: What are your future plans for your poetry? Another book?
LC: Immagine & Poesia – The Movement in Progress has received very positive feedback, and since its release it has been selling on Amazon, on the Internet. I am pleased that it has also been acquired for public libraries here, in Torino.
The American poet, Lawrence Ferlinghetti, whom I had the honor of meeting in San Francisco last summer, had words of appreciation for my book and for the project we are pursuing.
Many artists and poets have written to me to let me know they are interested in participating with their works in the event of future publications. And, in the meantime, our activity of publishing collaborations between artists and poets continues on the web...
La bibliothèque municipale de Vallauris Golfe-Juan est installée dans les locaux de l’ancienne mairie de Vallauris où eut lieu le mariage dePicasso avec Jacqueline Roque le 2 mars 1961
The Public Library of Vallauris Golfe-Juan is located on the premises of the former Town Hall of Vallauris where the marriage of Picasso and Jacqueline Roque took place on March 2, 1961
Les livres "IMMAGINE & POESIA THE MOVEMENT IN PROGRESS" de LIDIA CHIARELLI et "TREIZE" de KRZYSZTOF OGONOWSKI ont été livrés à la bibliothèque LOUIS NUCERA, NICE.
Les livres "IMMAGINE & POESIA THE MOVEMENT IN PROGRESS" de LIDIA CHIARELLI, "TREIZE" de KRZYSZTOF OGONOWSKI et le calendrier de GIANPIERO ACTIS ont été livrés à la bibliothèque de la FONDATION MAEGHT de SAINT PAUL DE VENCE, FRANCE.
Un appel à textes et images a été lancé le 2 juin 2014 par le mouvement international IMMAGINE & POESIA via Facebook. En voici le résultat sous forme de livre électronique (e-book), Vol 1. Vingt-deux (22) pays y sont représentés en anglais d'une part et d'autre part en français. On peut le télécharger ici:
"Grain de beauté"
Au creux de mon poing
Un grain de raisin
Rondeur de sein
Entre mes doigts refermés
Où pleurent les lignes de ma main
Son sang poisseux
Entre mes phalanges.
Ce grain de Beauté
Dans cet univers desséché
La voie des vignes
Voie de l’avenir
Voie de la Vie.