By Alex Cox
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Extra info for 10,000 Ways to Die
The key word to grasp the essence of Lamarque’s poetic style is estrangement, which is employed as a rhetoric tool from the very beginning of the collection, the para-text. With regard to the title, in her introductory essay, Dedola reminds the reader that “Tesero, il paesino dove Vivian è nata, sparisce e viene sostituito da Milano. Il titolo della raccolta, quasi anagramma del nome del paese natale, richiama però alla memoria anche Terezin, il campo di concentramento nazista riservato ai bambini” (v) [Tesero, the small town where Vivian was born, disappears and is replaced by Milan.
In “Era detto aquilone” [He was called kite], the nickname of the man portrayed depends on the fact that “[…] quando vedeva da lontano Maria/pareva innalzarsi/portato dal vento e dall’emozione” (22) [when he saw Maria from faraway/he seemed lifted up/by the wind and by emotion]. /e a guardarlo/a guardarlo lei perde colore” (22) [He is the red cherries/looking at him she turns pale]. In both “Sempre più mi sembri” [More and more you look like] and “Voltando le spalle” [Turning my shoulder], the crucial moment of awareness (of being in love) acquires a concrete presence, and is embodied into two very simple actions, through which the poet reveals the strength of her feelings: washing glasses and preparing soup.
Here, the balcony is not a real opening, THE BROKEN LANGUAGE OF HIGH POETRY: AGENCY AND EMOTION... 10 The expressions taken from the daily television broadcast of the weather report and which punctuate the longest poem of this section (“Previsioni del tempo” [Weather forecast]) can be subsequently interpreted according to the same criteria listed above. First, the poet’s linguistic resources seem to reflect and adhere to the limitations of the space (the apartment building) where she has confined herself.
10,000 Ways to Die by Alex Cox