Lidia Chiarelli, Sue Zhu

Lidia Chiarelli: Judge at 左龙右虎诗歌评选 (Left Dragon Right Tiger Poetry Selection) – China 2021

Words of Appreciation from Sue Zhu (淑文), New Zealand Chinese poet, painter, entrepreneur and organizer of international cultural exchanges.

非常感谢 lidia的高效工作。她的真诚和爱是春风让诗歌的花朵充分而美好地绽放,她的专业,严谨和认真的态度让本次赛事更加趋于完美。在此谨代表胡先生和其他老师们再一次感谢她。期待未来我们可以有更多的合作

Thank you very much for your efficient work. Your sincerity and love are the spring breeze that makes the flowers of poetry bloom fully and beautifully,  your professionalism, thoroughness, and seriousness make this event more perfect. On behalf of Mr. Hu and other teachers, I would like to say thank you so much once more. We look forward to doing more cooperative work together in the future. 

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Louisa Calio

Louisa Calio: What is Water – Translation in Sicilian by Nino Provenzano

Louisa Calio Louisa Calio is an internationally published, award winning author, whose work has been translated into Russian, Italian, Sicilian and Korean. In 2016 her poem “Sky Openings” won “Words of Gold” in Agrigento, Sicily. She won first prize for her poem “Bhari” from the City of Messina, Sicily, an International Poetry Competition 2013,was a2013 Finalist for Poet Laureate of Nassau County, NY, formerly Director of the Poets and Writers Piazza for Hofstra’s Italian Experience for 12 years, founding member and Executive Director of City Spirit Artists, Inc. New Haven, Ct. and an activist in the arts internationally, She is currently on the Advisory Board of Arba Sicula an organization devoted to Sicilian culture. She was honored at Columbia/Barnard with Alice Walker, Ruth Beta Ginsberg, and others, as a Feminist Who Changed America 2nd Wave, won the 1978 Connecticut Commission of the Arts Award given to individual writers, the 1987 Women in Leadership Award for her contribution to Arts development in Connecticut. She holds a BA with special honors in English from SUNY Albany and a Masters from Temple University. As an independent scholar who studied with Robert F. Thompson at Yale, in African Art and Religion and others, she lives in the USA and Jamaica WI where she writers and exhibits her photography. http://en.wikipedia.org/wiki/Louisa_Calio and Facebook. Her latest book Journey to the Heart Waters is published by Legas Press.

Louisa Calio

Louisa Calio: A Passion for Jamaica

Louisa Calio Louisa Calio is an internationally published, award winning author, whose work has been translated into Russian, Italian, Sicilian and Korean. In 2016 her poem “Sky Openings” won “Words of Gold” in Agrigento, Sicily. She won first prize for her poem “Bhari” from the City of Messina, Sicily, an International Poetry Competition 2013,was a2013 Finalist for Poet Laureate of Nassau County, NY, formerly Director of the Poets and Writers Piazza for Hofstra’s Italian Experience for 12 years, founding member and Executive Director of City Spirit Artists, Inc. New Haven, Ct. and an activist in the arts internationally, She is currently on the Advisory Board of Arba Sicula an organization devoted to Sicilian culture. She was honored at Columbia/Barnard with Alice Walker, Ruth Beta Ginsberg, and others, as a Feminist Who Changed America 2nd Wave, won the 1978 Connecticut Commission of the Arts Award given to individual writers, the 1987 Women in Leadership Award for her contribution to Arts development in Connecticut. She holds a BA with special honors in English from SUNY Albany and a Masters from Temple University. As an independent scholar who studied with Robert F. Thompson at Yale, in African Art and Religion and others, she lives in the USA and Jamaica WI where she writers and exhibits her photography. http://en.wikipedia.org/wiki/Louisa_Calio and Facebook. Her latest book Journey to the Heart Waters is published by Legas Press.

KHOSIYAT RUSTAMOVA

Poem by KHOSIYAT RUSTAMOVA, Uzbekistan. Italian translation and Art by Lidia Chiarelli

Mi stai fissando! Hai qualcosa da dire?

Vedo la tua ombra sul pavimento davanti a me.

La tua luce entra comunque dalla mia finestra –

Non importa quanto tu ci provi, io riesco ancora a vedere.

È così ogni giorno: dall’alba in cielo,

Prima che inizi a soffiare la brezza del mattino,

Senza esitazione, il sole dal volto spesso

Tocca tutte le mie finestre una ad una.

I giardini riversano in giro tutto il loro amore

 Per il  mondo intero.

Ma quella macchia del sole rimarrà

Sul vetro accuratamente pulito della mia finestra.

________

You’re staring! Did you have something to say?
I see your shadow on the floor in front of me.
Your light comes through my window anyway –
No matter how hard you try, I can still see.
It’s like this each day: from the dawn skies,
Before the early breeze starts to arise,
Without hesitation, the thick-faced sun
Touches each of my windows one by one.
The gardens give all their love out
To the whole world roundabout.
But that stain from the sun will remain
In my carefully cleaned windowpane.

Khosiyat Rustamova was born in 1971 in the village of Olmos in the Chust district of Namangan Province (Uzbekistan). She studied at the Journalism Faculty of the National University of Uzbekistan (1988-1993) and at the University of Higher Literature (2001-2004).

Her books have been translated and published in different languages.
She has been serving as editor-in-chief of the World of the Book newspaper since 2015.
Khosiyat Rustamova was awarded with the ‘Shukhrat’ (‘Fame’) medal in 2004 and is a member of the Writers Union of Uzbekistan. She has been awarded with the international award of Azerbaijan named after Mikail Mushfeek in 2015. She has also been a member of Writers Union of Azerbaijan since 2019.

Ekphrastic Poetry, Lidia Chiarelli, Sue Zhu

Lidia Chiarelli’s article “Ekphrastic Poetry then and now” in Poetry World Weekly, Issue 5- 《诗天下周刊》第5期用稿目录

https://mp.weixin.qq.com/s/gtNk1XUYJsNFZaEi3re-7Q?fbclid=IwAR38ZdCZ4aFgL_c_Qg4l2qAUtxtzNpfJEg3v8mdXNTYWv_tWoolE-ndYpiE

Ekphrastic Poetry 
 读艺诗的过去与现在

/莉迪亚·吉亚雷利(意大利)

翻译/淑文(新西兰)

当今诗坛,一个有趣而被评论界津津乐道的诗歌流派,就是Ekphrastic Poetry — 读艺诗。

Ekphrastic一词,最初来源于希腊语的描述,其运用的艺术手段主要是ekphrasis。依照《牛津经典字典》,是指对某对象进行详尽描述,以画作为主,而现在其描述的对象已不局限于绘画,可以功能性物品,视觉符号或艺术作品。范景中先生将该修辞手法译作艺格敷词,鉴于此,我倾向把Ekphrastic Poetry译为“读艺诗”。

古代最早最典型的以ekphrasis手段进行创作的文本,在荷马史诗《伊利亚特》中可以找到,当时荷马对阿喀琉斯盾牌上面的场景进行了详尽描述。

古希腊诗人西莫尼底斯是最早指出艺术与诗歌之间关系的人,他说“画是无言之诗,诗为有声之画。” 古罗马帝国诗人贺拉斯在《诗艺》中说:”是画,也是诗 “。  达芬奇在《绘画论》里说“绘画是看得见的诗,诗是看不见的绘画”。诗人苏东坡对唐代王维的诗画进行回顾时也提到“诗中有画,画中有诗。”

读艺诗在浪漫主义时代尤为兴盛,代表性的例子是约翰-济慈的《希腊瓮上的颂歌》,诗人对一件自认为非常传神的陶器做了假设,给树下吹笛的少年及他想象中所爱慕的少女,赋予恋人的身份,用文字描述出画面:他们劲歌劲舞不止,这种动感凝固在永恒中。读艺诗在19世纪和20世纪都很常见。

2007年,一个真正的文学艺术运动,由女诗人Aeronwy Thomas与Gianpiero Actis、Lidia Chiarelli、Silvana Gatti e Sandrina Piras共同发起,命名为 “形像与诗歌“。他们相信,当文字和视觉形象结合在一起时,将创造出全新的作品。同年11月9日,在意大利都灵阿尔法剧院的舞台上,她们宣读了“形像与诗歌”的宣言。 几年内,该活动通过网络迅速传播,相继推出和展示了大量艺术家和诗人的作品。

如今,其宣言已被翻译成30种语言,其运动得到世界各地数百名艺术家和诗人的响应。自2014年起, 其年度电子书由加拿大出版商Huguette Bertrand和该运动主席Lidia Chiarelli共同策划出版。

“形象与诗歌”运动,一直本着传递和平,促进友谊与合作的宗旨,努力在各国艺术家之间搭建交流的桥梁, 推广以围绕视觉艺术来促进诗歌创作。从纯粹美学的角度来看,诗歌传达了激励 “美”进一步发展的信息:美丽的诗歌要与美丽的形像结合,可以作为我们从事诗歌创作的座右铭,正如费奥多尔·陀思妥耶夫斯基的小说里的米什金亲王所说:”美丽将会拯救世界 “!对此,我们深信不疑!小说里的米什金亲王所说:"美丽将会拯救世界 "!对此,我们深信不疑!

Immagine & Poesia, Lidia Chiarelli, Xosiyat Rustamova

Lidia Chiarelli interviewed by Xosiyat Rustamova in the newspaper “Kitob Dunyosi” (Book World)- Uzbekistan

INTERVIEW TO LIDIA CHIARELLI, Torino – Italy
1. What do you regard as your most important contribution to world literature?

In 2007 I founded the art-literary Movement IMMAGINE & POESIA (Image & Poetry) with Aeronwy Thomas, Dylan Thomas’ daughter. In the 10 points of the Manifesto we stated that a new, enhanced form of art could be created by the union of Art and Poetry.

Within a few years Immagine & Poesia rapidly spread via the web where collaborations between artists and poets are published, as well as through international exhibitions. Today the Movement includes hundreds of Poets and Artists from all over the world.

2. What would humanity be without the humanities?

In 1949 George Orwell showed us what happens in a world without the humanities. In his book Nineteen Eighty-four he spoke of a world where technology dominated and the power was in the hands of those who controlled it.

Once all creativity was extinguished, the human being became a larva, guarded at sight by telescreens, cameras, and hidden microphones, and completely succumbing to totalitarian rules.

Today I fully agree with the opinion of futurist  Gerd Leonhard who has analyzed  the impact of technologies on our world in his book  Technology vs. Humanity. Leonhardfears that our world is rapidly going to resemble Orwell’s science fiction. Moreover he has also invited the technologies leaders to embrace digital ethics.

3. How can people find the poetry in their lives?

We live in a wounded world, every day newspapers and television show  violence, wars, injustice…

The year 2020 has hit even more all the countries of the world with the rapid and relentless Covid 19 pandemic.

I believe that Poetry, both for those who write it and for those who read it, can be an antidote to the depression that grips many people today.

Poetry can illuminate life with a different perspective and make us see the light at the end of the tunnel.

4. How can poetry compete with social media?

Social media can enhance poetry and create new means of expression.

Instagram Poetry has recently risen as a new literary genre.

American writer Jamal Cadoura has been posting poetry on Instagram since 2015 and nowadays many others follow his path becoming Instapoets.

These types of poems are short, with a simple language and they are more visual than traditional poems.

Similarly, dozens of poetry groups have sprung up on socials such as Facebook and Twitter:

here Poets and their audiences can meet and  confront with the existential questions of our uncertain times.

Daniela Feltrinelli, Lidia Chiarelli

“Accendo candele” poem by Daniela Feltrinelli. English Translation and Digital Art by Lidia Chiarelli

ACCENDO CANDELE

Accendo candele 

per veder danzare la notte,

intreccio filigrane di parole

e attendo …

Accendo candele

e aspetto la notte:

lunga è la sera 

e non vedo la luna…

Accendo candele 

e aspetto parole:

scorre l’inchiostro 

senza macchie e senza colore.

Accendo candele

e spengo le luci,

silenzi di casa

e rumori dell’anima…

Accendo candele

e spargo profumi,

aspetto un sonno

che non verrà…

Accendo candele

e accendo pensieri

che vengono a te.

DANIELA FELTRINELLI

I LIGHT CANDLES

I light candles

to see the night dancing

I intertwine filigrees of words

and I wait…

I light candles

and I wait for the night:

long is the evening

and I do not see the moon…

I light candles

and wait for words:

the ink flows

without stains and without color.

I light candles

and turn off the lights,

home silences

and noises of the soul…

I light candles

and spread perfumes,

I look for a sleep

that will not come…

I light candles

and I turn on the thoughts that come to you.

Translation by Lidia Chiarelli

_______________________________

Daniela Feltrinelli was born in La Spezia, in the magnificent Gulf of Poets.

Since her youth she has used the written words as means of introspection and personal expression, publishing poems in anthologies of her area.

In 2018 she wrote the collection of poems Isole vicine, almost entirely dedicated to the small islands of Palmaria and Tino and to the sea, a continuous source of great inspiration for her.

The book, published by Agorà&co, has received many awards and mentions in national and international literary competitions.

In 2020, in full lockdown, she published her second book of poetry, L’incanto dell’onda (Helicon editions).The book is divided into five sections: Nature, People, Seasons, Travel, Humanitarian Emergencies. Some of the poems have already been awarded in different competitions and the book is among the finalists in the International Prize City of Sarzana.

The author believes that poetry is the safest place to store feelings and emotions.

Germain Droogenbroodt

“The Wisdom of unspoken Words” by Germain Droogenbroodt, Belgium

The Wisdom of unspoken Words

How Celan’s Poems inspired me

Although born in the Flemish part of Belgium where Dutch is the official language, as a youngster it was not the Flemish nor the Dutch poetry that fascinated me, but the French, Baudelaire, Verlaine, Rimbaud… and even more the German. Initially the romantics and later Hölderlin, Rilke, as well as the East German poets Peter Huchel, Reiner Kunze. Years later, in the early eighties, I read in a German literary magazine Todesfuge (Fugue of Death) by Paul Celan. The language and the style of the poetry were totally new and impressed me greatly. The poem not only describes realistically the terrible event, the killing of the Jews by the Nazis, but leaves the reader freedom of interpretation. The rhythm, the repetition of “we drink” makes the poem even more dramatic: Dark milk of daybreak we drink it in the evening, we drink it at noon and in the morning, we drink it at night, we drink and we drink. In the original German version, the verses sound even more melodious, but the musicality of the poem does not reduce the horror, the drama, on the contrary it increases it. That poem incited me to read more poetry by that Jewish poet, born as Paul Antschel or Anczel 1920 in Czernowiz, Bukovina. His parents had been killed by the Nazis and he had been forced to work in a labour camp till it was dissolved in 1944.

Fuge of Death, written in Bucharest in 1945, is probably his most famous poem, published for the first time in The Romanian periodical Contemporanul, Bucharest 2.5.1947 entitled “Tangoul mortii” (Tango of Death), translated in Romanian by his Bucharest friend Petre Solomon, the poem was included in his first poetry book Der Sand aus den Urnen (The Sand of the Urns) published in Vienna in 1948, but withdrawn by the poet because of many misprints.   His second book Mohn und Gedächtnis (Poppy and Memory), published 1952 in Germany by the well known German publisher Deutsche Verlags-Anstalt,  contained as well Fugue of Death, the new title of the poem, but also Corona, Zähle die Mandeln (Count the Almonds) and other fascinating poems,  in German poetry a completely new tone, call it,  so typical for Celan’s style the poetic expression of Sprachlosigkeit, speechlessness, a style which characterizes Celan’s complete poetic oeuvre: the expression of what can’t be said,  leaving each individual reader to unravel the unspoken which can be understood in several ways. The language remains fundamental, personal, although she had to pass through her own perplexity, the darkness, the horror.

(Paul Celan spent most of his life in Paris and was also a very active translator. He translated works of Arthur Rimbaud, Guillaume Apollinaire, Henri Michaux, René Char, Emily Dickinson, Robert Frost, Shakespeare as well as the Russians poets like Alexander Blok, Ossip Mandelstam and other poets.)

“Much of Celan’s later poetry can be intuitively grasped, but not rendered in another language, without as much knowledge as possible of his sources” pretends correctly Michael Hamburger who translated a ample selection of Celan’s poem, published by Penguin Books. I also translated a few poems of Celan, but his language is so personal that many of his poems cannot be rendered correctly in another language.

Celan had seen death with his own eyes, anguish, darkness and the stigma of death accompanied him all his life, present in many of his poems, as he writes in the last verses of a poem from Mohn und Gedächtnis, his first poetry collection published in Germany “Count the almonds, / count, what was bitter and kept you awake, / count me among them… the death layed the arm around you, and the three of you walked through the evening. He committed suicide by drowning in the Seine in April 1970.

The unspoken: a source of inspiration

My first poetry books, “Forty at the Wall”, “Palpable Absence” and “Do you know the Country? Meditations at Lake Como”, considered neo-romantic by literary critics, were slightly influenced by German nature poets, but after having visited many times the Far East, having discovered and studied Asian philosophies, starting with “The Road”, written in India and translated into Chinese as TAO, my poetry made a big change and became more philosophic. Taoist, pretend the Chinese, or ZEN according to the Japanese. Where nature poetry is descriptive, influenced by the surroundings, philosophical poetry is a reality to be be discovered. Paul Celan described it perfectly: Wirklichkeit ist nicht./Wirklichkeit will gesucht und gewonnen sein” (Reality does not exist, reality wants to be searched and gained). The Spanish poet José Ángel Valente who also translated in Spanish a number of Celan’s poems claimed “As a multiplier of feelings the poem surpasses all possible feelings”. However, the poems should not show itself to the reader undressed and nude, it should – as it is in Celan’s poetry – conserve what constitutes poetry: the fascination of the enigma. However, contrary to Celan, I try to write a kind of poetry which is  apparently – simple, but profound.  However, the change from descriptive to more philosophical poetry, to find a “new reality”, requires a free mind, I therefore have to leave my “normal” daily life, find a place without people and other elements, such as  noise, TV, smartphone, things  which distract the spirit, the thinking, inspiration: obstructing the arrival of the word at the white, the empty  paper. Because Paul Celan’s poetry leaves that freedom of personal interpretation, wherever I go to write, I always carry with me his books. Although my poetry is completely different from Celan’s, through the years, as much as eleven poems refer in some or other way to his verses.  The poem “Nighthorn” dedicated to Paul Celan, published in “Do you know the Country?”  refers to his suicide as does the poem “As one knows…” from “Conversation with the Hereafter”.  The poem “Thorn or Rose ” refers to his poem Mandorla and to Celan’s life, full of dramatic events which deeply influenced his life and his poetry: the killing of his parents, death of his first child shortly after its birth, his complicated love affair with the Austrian poet Ingeborg Bachmann and last but not least the claims of  plagiarism by the widow of the poet Yvan Goll, resulting in a press campaign, leaving deep scars in Celan’s psyche, the sense of life.  “When my Lip bleeds by the Language” clearly refers to Celan’s very personal poetry, full of neologisms and unusual words and expressions.

The poem “Morning Star” with a verse of Paul Celan “Oh Flower of Time”  inspired me for the title of my latest publish poetry book “The Ephemeral Flower of Time” whereas  the poem “Don’t count me among the Almonds” , selected from my latest, not yet published book “The Unrest of the Word” is a poetic response to Celan’s verses “Make me bitter, count me with the almonds” as is “Mandorla”. The misleading speeches of some politicians concerning the corona virus, resulting to the death of hundred thousand of people, as did Hitler’s agitating speeches, reminded and inspired me to “Fugue of Death” one of my recent poems.

Germain Droogenbroodt

Droogenbroodt, Germain (Belgium)
Germain Droogenbroodt is a Belgian poet, he translates and promotes international poetry. He received many awards and is yearly invited at the most prestigious international poetry festivals. Nominated in 2017 for the Nobel Prize of Literature.
He wrote 14 books of poetry published so far in 29 countries.
http://www.point-editions.com

Daniela Andonovska-Trajkovska

“House of Contrasts” poem by Daniela Andonovska-Trajkovska, Republic of North Macedonia. Italian translation and Art by Lidia Chiarelli

HOUSE OF CONTRASTS

When I open the front door to enter my home

through the back door my shadow goes out

and no one sees the flood in my working room

because of the blossomed orchids on my living room’s window

and no one could ever feel the scent of pine trees

that is coming from my back window

and no one, no one at all

can see the invisible resin of the past

laid on the coffee table at which I entertain guests

with Greek coffee, Turkish delight and German chocolate 

and when I speak аloud in my sleeplessness

no one, no one at all can hear

how the day crumbles in me

and comes into pieces again all at once as X-ray does

so no one will ever point finger on my naked body

_________________

CASA DEI CONTRASTI

Quando apro la porta d’ingresso per entrare in casa mia

attraverso la porta sul retro la mia ombra esce

e nessuno vede l’inondazione nella mia stanza di lavoro

per le orchidee in fiore alla finestra del mio soggiorno

e nessuno potrebbe mai sentire il profumo dei pini

che viene dalla mia finestra sul retro

e nessuno, proprio nessuno

può vedere la resina invisibile del passato

sul tavolino da caffè con cui intrattengo gli ospiti

con caffè greco, delizie turche e cioccolato tedesco 

e quando parlo forte nella mia insonnia

nessuno, proprio nessuno può sentire

come la giornata si sgretola in me

e si scompone tutta in una volta, come sotto i raggi X

così nessuno punterà mai il dito sul mio corpo nudo

Digital Art by Lidia Chiarelli

DANIELA ANDONOVSKA-TRAJKOVSKA, Republic of North Macedonia

Daniela Andonovska-Trajkovska (born February 3, 1979, Bitola, North Macedonia) is poetess, scientist, editor, literary critic, doctor of pedagogy, university professor. She works at the Faculty of Education-Bitola, St. “Kliment Ohridski” University-Bitola, Republic of North Macedonia and teaches the courses:  Methodology of Teaching Language Arts, Creative Writing, Critical Literacy, Methodology of Teaching Early Reading and Writing, ect.  She is co-founder of the University Literary Club “Denicija PFBT UKLO” and also of the Center for Literature, Art, Culture, Rhetoric and Language at the Faculty of Education-Bitola. She is member of the Macedonian Writers’ Association, and The Bitola Literary Circle, and was president of the Macedonian Science Society Editorial Council (for two mandates). She is editor in chief of the literary journal “Rast” issued by the Bitola Literary Circle, and also – editor in chief of the International Journal “Contemporary Dialogues” (Macedonian Science Society), and “Literary Elements” Journal (Perun Artis), several poetry and prose books. Besides her scientific work published in many international scientific journals (over 100 articles), and one university book “Critical Literacy”, she writes poetry, prose and literary critics. She has published one prose book: “Coffee, Tea and the Red Sky” (2019), and 8 poetry books: “Word for the Word” (2014), “Poems for the Margins” (2015), “Black Dot” (2017), Footprints” (2017), “Three” (2019), “House of Contrasts” (2019), “Electronic Blood” (2019), and “Math Poetry” (2020). She has won special mention at the Nosside World Poetry Prize (UNESCO, 2011), the award for the best unpublished poem at the Macedonia Writers’ Association Festival (2018), “Krste Chachanski” prize for prose (2019), National “Karamanov” Poetry Prize for poetry 2019, Macedonian Literary Avant-garde (2020). Her poetry was published in a number of anthologies, literary magazines and journals both at home and abroad, and her works are translated into: English, Serbian, Croatian, Bosnian, Bulgarian, Albanian, Romanian, Polish, Chinese, Arabic, Turkish, Vietnamese, Uzbek, Bengali, and Italian language. She has translated many literary works from English, Serbian and Bulgarian language into Macedonian and vice versa.