Books I received recently from all over the world

Poet, critic and translator Zacharoula Gaitanaki (from Greece)got to know me through e-mail and thanks to Teresinka Pereira's world-wide network. She sent me the poetic anthology Citizen of the World (2007) by poet Stathis Grivas, which she translated from Greek to English.

Visit: http://homepages.pathfinder.gr/poiitikigonia
http://durabond.ca/gdouridas/Poetry%20Arkadia.html

Zacharoula publishes a newsletter named "POIITIKI GONIA" (The Corner of Poetry), and was so kind as to translate some poems in Maltese to Greek.

Dall'Arno al Tamigi is another book by Amerigo Iannacone of Isernia (Italy). This time Iannacone discusses a linguistic issue: mainly the interferences of Anglo-American words on the Italian language. This book gathers a number of articles Iannacone published in his monthly magazine Il Foglio Volante and also feedback given by different contributors regarding the linguistic question.


The book helps a lot in reflecting about the correctness of certain words in Italian, but it also helps the reader understand better some of the contemporary Italian ways of thinking and acting regarding the use of everyday language.

Cronache reali e surreali is the latest book published by Amerigo Iannacone. This time Iannacone invites us to read some 40 short and micro-stories which float between the real and the surreal. One reads about different contexts, persons and situations, but at the same time feels that what Iannacone presents us with are things which might also happen someday to us. The stories are all written in a very fluent language and style and the variety of themes is a guarantee against monotony.



Visit: http://www.edizionieva.com/









Dr. Tholana Ashok Chakravarthy (from Hyderabad, India) read Teresinka Pereira's interview with me on the Corean magazine The Moon Light of Corea and got to know my e-mail. He contacted me and asked me to send him some of my poems in English. I also saw his blog and read some of his poetry: http://www.apoetsconcern.blogspot.com/


He also sent me a poetry anthology, Serene Thoughts...of Poetic Ripples (2006). It is an anthology of 70 beautiful poems which have to do with issues such as peace, war, famine, environment, injustice and inequality. The book has a very attractive presentation and a number of forwards written by different people (writers, journalists, poets, educationalists, and doctors).

MMe Nadia-Cella POP from Brasov, Romania, read one of my poems in the Serbian magazine "Open World". She thus sent me her multilingual poetry anthology The Lordship of the Word (2007). The book comprises poems in Romanian, French, Italian, English, German, Greek, Polish, Russian, Spanish, Arabic, Bengali and many others.

Nadia-Cella POP was in Malta in 2006 and she still has fascinating memories of my island. Ironically, I visited her country, Romania, last May/June. We didn't meet in either country, but we still managed to come in contact with each other thanks to poetry.

I got to know poet and journalist Annamaria Weldon from Australia thanks to an article on THE TIMES of Malta. I sent her an e-mail - which she immediately answered - asking her where could I by a copy of her last publication, The Roof Milkers (2008), and she sent me one directly from Australia. Weldon was born in Malta but emigrated to Western Australia in 1984. The anthology is a collection of 78 poems, some of them reminiscent of the island of Malta, but others are directly born from the land of Australia.

I'LL BE EVENTUALLY PUBLISHING INTERVIEWS WITH THESE POETS ON THIS BLOG IN THE NEAR FUTURE.

One of my poems translated in Greek

ΑΓΡΥΠΝΗ ΝΥΧΤΑ

Ο Πάτρικ Σαμμούτ, Αντιπρόεδρος της «Maltese Poets Association», γεννήθηκε στη Σλιέμα. Σπούδασε στο Πανεπιστήμιο της Μάλτας την γλώσσα της χώρας του και στο Πανεπιστήμι της Φλωρεντίας τα Ιταλικά. Γράφει ποίηση, δοκίμια, διηγήματα και κριτική λογοτεχνίας. Τα έργα του δημοσιεύονται σε περιοδικά και εφημερίδες της χώρας του. Το 2003 εξέδωσε το βιβλίο «Tieqa Fug Kittieba Maltin». Στο παρόν ποίημα έχει εμπνευστεί από τον «Κρυμμένο Τόπο» της Τρέζα Αζοπάρντι, απ’ τον οποίο δανείζεται και τον πρώτο στίχο:

«Ο ουρανός γίνεται κάθε μέρα πλατύτερος.»
Τα δάση με την ώρα σαρώθηκαν,
οι έρημοι κινήθηκαν μπρος
κι η αναβροχιά τις στέγνωσε όλες,
οι πόλεις έσβησαν από τις αδιάκοπες πλημμύρες,
η ανθρωπότητα, από πολιτισμένη σύρθηκε πάλι στο κτήνος.
Τα ζώα κραυγάζουν μ’ εκατονταπλάσιες ωμότητες,
σαν πεινασμένες ακρίδες νέα καθεστώτα συρρέουν,
το άγγιγμα της Μέδουσας στρέφει
τις ανθρώπινες καρδιές μες στην πέτρα.

Άκου με προσοχή τον στεναγμό του κόσμου,
γεύσου τις δηλητηριασμένες θάλασσες,
δες τους μαυρισμένους ορίζοντες,
άγγιξε το σκληρό χώμα,
μύρισε την καθημερινή σήψη…
Ατέλειωτες άγρυπνες νύχτες,
εφιάλτες όλη μέρα επί μακρόν,
η αγάπη για όλα γύρω μας καθόλου δυνατή.

Υπνωτισμένοι, δούλοι στην απάθεια,
στεγνά δάκρυα, συναισθηματική κατανόηση
τόσο μακριά όσο η αιωνιότητα.

Ο ουρανός γίνεται κάθε μέρα πλατύτερος
και εμείς στενόμυαλοι,
ανασαίνοντας τους τελευταίους μας νεκρικούς εγωισμούς
από άγνοια…
συντρίβοντας το δικό μας πεπρωμένο.

ΠΑΤΡΙΚ ΣΑΜΜΟΥΤ

Translator: ZACHAROULA GAITANAKI, IWA, Member WAAC/WCP, from Greece.

Intervistato Amerigo Iannacone di Isernia

«Ho sempre subito il fascino dei libri»

Davanti a me ho cinque pubblicazioni dello scrittore Amerigo Iannacone, di Isernia: Il Foglio Volante (mensile di cultura), Stagioni (haiku), 2005, Oboe d’amore/Ama hobojo (poesie), 2007, Dall’otto settembre al sedici luglio, 2007, e Dall’Arno al Tamigi (Annotazioni linguistiche), 2008.
Gli rivolgo alcune domande.

D.: Da dove è nato questo interesse di Iannacone per il mondo della scrittura?
R.: È difficile anche per me saperlo. Non voglio dire che si tratti di un predisposizione innata, ma penso piuttosto che l’interesse per la scrittura sia nato come conseguenza dell’interesse per la lettura, che ho sempre avuto. Fin da quando ero bambino subivo il fascino dei libri, che mi davano l’opportunità di viaggiare con la fantasia. Anche se in casa c’erano pochi libri e io, bambino delle scuole elementari e poi medie, prendevo in prestito i libri al Centro di Lettura che era stato istituito in quegli anni – tra la fine degli anni Cinquanta e l’inizio degli anni Sessanta – nel mio paese e che disponeva di una piccola biblioteca, modesta ma piú che sufficiente per le mie esigenze.

D.: Qual era l’idea originaria dietro la pubblicazione de Il Foglio Volante? Qual è la sua tiratura oggi e chi sono quelli che lo ricevono? Chi sono i contributori?
R.: Il Foglio volante è nato – e anche il nome lo dice – come un semplice foglio, appunto, dove pubblicare scritti miei ed eventualmente da allegare alle lettere che scambiavo con i miei corrispondenti. Poi il progetto si ampliato da sé e in qualche modo si è creata una rete di lettori, di amici della parola, che si sono abbonati e che collaborano. La tiratura è piuttosto modesta – mediamente sulle 500 copie – ma i lettori sono generalmente di livello elevato. Il giornale non ha finanziatori particolari: si regge solo con il contributo degli abbonati, oltre che con i sacrifici miei personali.

D.: Qual è la tua relazione con la poesia e con la prosa? Hai preferenze per qualche genere letterario in particolare?
R.: Come preferenze, al primo posto metterei la poesia. Ho cominciato a scrivere i miei primi ingenui versi mentre frequentavo ancora la scuola elementare, perché la poesia mi ha sempre attratto ed ho sempre continuato a scrivere, sia pure e senza mai aspirare a pubblicare, anzi – da ragazzo – senza pensarci neppure. Infatti il mio primo libro è uscito quando avevo già trent’anni. Ma sono interessato anche ad altri generi e in particolare alla narrativa. Nelle letture, devo dire, sono onnivoro e anche i miei libri, al di là del loro valore, che non sta a me stabilire, spaziano in vari campi di interesse. Nella mia bibliografia, ricca di circa 25 titoli, si trovano infatti altre a poesia e narrativa, anche libri di saggistica, traduzione e altro.

D.: La tua ultima pubblicazione Dall’Arno al Tamigi indica anche un tuo interesse nel campo della lingua. Puoi elaborare nel riguardo? C’è qualcosa che unisce tutte le lingue?
R.: Nel frattempo – per inciso – è diventata la penultima, perché proprio in questi giorni è uscita una mia raccolta di 42 racconti dal titolo Cronache reali e surreali.
Per quel che riguarda le lingue, sebbene io poi in fondo non possa vantarmi di conoscerne molte, ne sono stato sempre attratto piú per motivi, direi, di studio che non per uso pratico. Ho studiato il francese, il latino alle medie e al liceo (ai miei tempi il latino si studiava a partire dalla prima media) e il greco classico, ma oltre all’italiano posso dire di conoscere correntemente solo l’esperanto e un po’ di francese. Qualcosa di altre lingue, piú a livello di curiosità fonetico-morfologiche che di uso pratico.
Che unisca tutte le circa diecimila lingue parlate oggi nel mondo credo non ci sia altro che la loro intrinseca capacità di comunicazione. Ma a me, oltre alle qualità puramente linguistiche e glottologiche, interessa la salvaguardia delle lingue in genere e dell’italiano in particolare – perché vivo in Italia – dalla corruzione, dalla sopraffazione delle lingue piú potenti (o, se si preferisce, dei potenti), sopratutto l’inglese, che si sta insinuando come un virus nelle lingue nazionali, le sta inquinando e corrompendo e si accinge a fagocitarle.

D.: Perché la scelta dell’Esperanto?
R.: Mi sono avvicinato all’esperanto solo per curiosità e ho finito per convincermi pienamente sia delle sue qualità propriamente linguistiche (facilità, chiarezza, modernità, flessibilità, creatività, ecc.) sia della sua potenzialità come soluzione del problema della comunicazione sopranazionale. L’esperanto infatti è una lingua eufonica e logica ed è una lingua di tutti in generale e di nessuno in particolare e perciò non è invadente (o fagocitante, come l’inglese), mette tutti sullo stesso piano e non fa graduatorie politiche, economiche, etniche, ecc. Chiunque lo può imparare (anche persone poco colte o poco dotate) con estrema facilità, senza dispendio né economico né di energie.
Qualche anno fa ho anche pubblicato un opuscolo intitolato “Esperanto, il perché di una scelta”, che risponde dettagliatamente proprio alla domanda che tu mi poni.

D.: Iannacone e i suoi contatti internazionali. Qual è il bello di tutto questo? Qual è il prezzo che uno deve pagare?
R.: Prezzi da pagare, se non stiamo a guardare al costo dei francobolli o altre piccole cose di questo genere, non ce ne sono. Ma il bello è l’apertura mentale che si matura, e la scoperta di poter trovare oltre frontiera amici fraterni, con cui si condividono idee e sensibilità.

D.: Cosa pensa Iannacone di Internet? Una minaccia o un miracolo?
R.: Forse dobbiamo parlare di un miracolo che può costituire anche una minaccia, ma il difetto sta nell’uomo. Internet è in sé una grande opportunità, che nessuno solo trent’anni fa avrebbe potuto immaginare. Come ogni cosa, dall’invenzione della ruota all’energia atomica, può essere usata in modo sbagliato e può comportare dei problemi, ma il problema non sta nel mezzo, bensí in chi lo usa. Un coltello può servire per tagliare il pane o per ammazzare una persona, ma non è né buono né cattivo: è un mezzo. Le automobili causano – solo in Italia – 10 mila morti all’anno, ma non per questo dobbiamo criminalizzare la macchina in sé, dobbiamo piuttosto cercare di agire sull’uomo e magari sulle norme che regolano il traffico. Anche per Internet c’è bisogno di regole che ancora non ci sono, ma si tratta comunque di una grande opportunità.

D.: Com’è Iannacone come persona e cosa ne pensa del suo paese/regione natale?
R.: Fisicamente probabilmente non è un gran che, per il resto è sempre difficile tracciare un ritratto di sé stessi. Cerco di essere accomodante ma non remissivo, ho molti interessi, mi piace leggere, mi piace la musica e tutte le arti in genere, mi piacerebbe viaggiare, ma le condizioni economiche mi costringono ad essere piuttosto sedentario e i libri e la parola diventano un modo per viaggiare. Ho molti amici, vicini e lontani, che mi vogliono bene. Per il resto lascio la sentenza ad altri.
Abito in un minuscolo paese che non ha particolari pretese, ma in fondo mi ci trovo bene. Ci convivo con qualche accomodamento, qualche incomprensione, qualche litigio e qualche ammiccamento, un po’ come può succedere con una donna. Credo che accada un po’ a tutti di instaurare un rapporto di amore-odio col paese e il territorio in cui si vive da tanti anni, proprio perché si conosce bene: se ne conoscono pregi e difetti.
Credo che a leggere i miei libri e in particolare A zonzo nel tempo che fu, si evinca tutto questo e anche di piú.

Vedi: www.amerigoiannacone.wordpress.com

Patrick Sammut (luglio 2008)

Of Cloves and Bitter Almonds - Studju kritiku

Of Cloves and Bitter Almonds ta’ Lou Drofenik (2007, 368 pages)

STRUTTURA U MEKKANIZMI STILISTICI:
Of Cloves and Bitter Almonds huwa rumanz li jinqasam f’hames partijiet. Bejn il-partijiet insibu tmien interventi min-naha ta’ min qed jikteb, “The Scrivener”. Fl-ewwel parti insibu tip ta’ introduzzjoni li tlaqqaghna ma’ dar f’Birkirkara lejn il-bidu tas-seklu 20. Hawn jissemmew in-nanniet tan-narratrici, Sylvia, li huma Rafel Scicluna u Anni Bugeja. Imbaghad hemm parti ohra (fi hdan l-istess l-ewwel parti), ambjentata fit-tieni nofs tas-seklu 20, fejn in-narratrici tirrakkonta l-emigrazzjoni taghha lejn l-Awstralja. It-tieni, it-tielet u r-raba’ partijiet huma ambjentati f’Birkirkara tas-seklu 9, meta Malta kienet taht il-hakma Aglabita. Il-hames parti tittratta grajjiet li jsehhu f’Wied Imsaldin (B’Kara) fis-seklu 15, meta l-Maltin kienu taht il-hakma ta’ l-Aragonizi u ta’ Monroj.
Matul ir-rumanz hemm zewg livelli li jimxu l-hin kollu id f’id flimkien: il-partijiet misthajla (mela mahluqa u frott il-fantasija ta’ Drofenik) jalternaw ma’ partijiet li jitfghu dawl fuq l-iStorja, l-amministrazjoni u aspetti ohra li kienu jezistu fir-realta`. Lejn l-ahhar parti tar-rumanz ir-rakkont jitbieghed minn dak ewlieni u jiffoka fuq Malta fi zmien il-fewdalizmu (l-Aragonizi u seklu 15), biex imbaghad ir-rakkont misthajjel jintrabat b’aktar sahha ma’ dak storiku-reali. Ghalhekk dak li ghaddew minnu l-Maltin fis-seklu 15 jinghata permezz tad-djalogar bejn Stella u Gianni.
Matul ir-rumanz ghandna xi waqtiet fejn min qed jikteb/jinnarra jmur lura ghall-bidu tar-rakkont b’referenzi ghall-muniti li Sylvia darba sabet fil-gnien tad-dar f’B’Kara u l-iskrizzjoni Aglabita (p.95, p.110). Imbaghad lejn l-ahhar tar-rumanz r-rakkont jerga’ lura ghall-bidu, jigifieri ghan-nanniet ta’ Sylvia, Rafel Scicluna u Anni Bugeja. U dan kollu biex il-qarrej jifhem li issa t-tahblila tal-misteru wara r-rakkont bhal donnha ssolviet u nstabu t-truf kollha tal-kobba.

Ghaliex il-partijiet intitolati “The Scrivener”?
Fil-bidu l-qarrej jigi mgharraf dwar dak kollu li se jiltaqa’ mieghu fir-rumanz li se jaqra. Dawn huma partijiet fejn Sylvia, dik li qed tikteb, tinsab fl-Awstralja fiz-zmien prezenti, imma tikteb dwar zminijiet imghoddija, fosthom anki B’Kara ta’ 40 sena qabel meta kienet ghadha tifla. Se jkun rumanz li jinnarra l-istejjer ta’ nisa differenti, kollha mgarrbin u marbutin ma’ dil-gzira f’nofs il-Mediterran. U dan kollu mwassal minn mara “eziljata” ghal snin twal u li toqghod fuq il-quccata ta’ muntanja f’art li sahhritha (l-Awstralja), u li spiss thossha mbieghda wisq mir-realt¿ Maltija kemm temporalment, kif ukoll spazjalment. Dan perÅ jippermettilha “thares” lejn Malta u l-Maltin minn barra u b’hekk tifforma stampa analitika u oggettiva (sa certu punt) li tinkludi wkoll hwejjeg li ma joghgbuhiex.
F’partijiet bhal dawn nigu wkoll wicc imb wicc ma’ l-istess process tal-kitba fis-sehh. Hawnhekk il-qarrej jigi mfakkar li Of Cloves and Bitter Almonds hu rumanz li jittratta distanzi kemm spazjali (Malta-Awstralja, b’kumbinazzjoni t-tnejn gzejjer!), kif ukoll temporali (prezent u passati differenti). Dawn huma partijiet li jistghu jservu wkoll ta’ pont bejn epoka u ohra, bejn generazzjonijiet ta’ nisa differenti. Importanti huwa r-rwol ta’ l-ilhna mill-imghoddi li jistigaw lil Sylvia biex tikteb u tfittex il-misteru li hemm mohbi wara d-dar ta’ B’Kara. Infatti Sylvia temfasizza l-bzonn li tispicca dak li bdiet. “The Scriviner” huwa spazju fejn jigu mqieghda wkoll numru ta’ mistoqsijiet: ta’ min huma l-iskeletri li nstabu fil-gnien tad-dar ta’ B’Kara? Min hija Stella Bonanno? Ghalhekk dawn huma partijiet li jservu wkoll bhala element ta’ kontinwit¿ bejn parti u ohra jew kapitlu u iehor tar-rumanz.
Huwa fl-ahhar intervent ta’ “The Scrivener” fejn naqraw li l-kitba hija, “Searching to find the absolute truth...” Imma mbaghad jinghad ukoll li l-verit¿ ghandha wcuh differenti, u hu hawn fejn jidhol l-element ta’ l-ambigwita` u ta’ l-interpretazzjoni. F’dan l-ahhar intervent il-qarrej ikun wasal ghal tip ta’ kjarifikazzjoni (imma li tibqa’ parzjali) fejn jidhlu l-misteri wara d-dar ta’ B’Kara – li kellha l-fama li fiha hemm il-hares -, misteri marbutin ma’ tliet nisa differenti: Dhabab (Seklu 9), Stella (Seklu 15) u Tessie (Seklu 20). Il-mistoqsijiet li jixirfu hawn huma, “What is their destiny? What is the truth and who is its keeper?” Huwa zgur li l-awtrici hawn xtaqet lill-qarrej li jerga’ jghaddi l-istejjer differenti li qara u jistaqsi anki huwa ghadd ta’ mistoqsijiet. Wara kollox rumanz tajjeb huwa dak li jhallik tistaqsi u tirrifletti anki wara li tkun spiccajt taqrah.
Fit-tmiem jerga’ jintuza mekkanizmu stilistiku iehor frekwenti f’dar-rumanz, l-ittra. Huwa hawnhekk fejn Sylvia bhal tirrikoncilja lilha nnifisha ma’ l-imghoddi.

Riferimenti kontinwi ghaz-zmien ghaddej
Inhoss li element iehor marbut ma’ l-istruttura tar-rumanz huma r-referenzi kontinwi ghaz-zmien ghaddej, anki permezz ta’ l-istaguni, l-aktar ir-rebbiegha li spiss tahdem bhala l-holqa li torbot parti ma’ ohra tar-rumanz. Referenzi temporali ohra nsibuhom mferrxin matul ir-rumanz kollu: “October arrived...”, “November came...”, “June is beautiful in Wied Imsaldin and perhaps the June of 1428...”, u “Sabiha is now in her fifth year.” Anki l-istess titli ta’ xi kapitli jirreferu ghas-sena bhal “The Year 871 CE”, “Birgu 29th August 870”, “August 886 CE” (mela 16-il sena wara), “The Year 1421 CE”. Dan ta’ l-ahhar huwa mekkanizmu li thobb tuza hafna fir-rumanzi awtobijografici taghha l-kittieba Cilena, Isabel Allende. Hemm imbaghad waqt fir-rumanz fejn zewg paragrafi sintetici hafna jinnarraw grajjiet ta’ seba’ snin shah! (p. 93)

Il-livell deskrittiv u l-idjoma Maltija
Inhoss li wiehed mill-pregji ta’ rumanz bhal dan huwa l-livell deskrittiv li f’xi waqtiet jintrabat ukoll ma’ l-uzu ta’ l-idjoma u ta’ l-ilsien Malti gewwa xoghol miktub bl-Ingliz immirat mela anki ghal qarrejja li lil Malta ma jafuhiex u lanqas l-ilsien Malti. Spiss id-deskrizzjoni tissahhah ferm permezz tar-riferimenti ghas-sensi bhall-hsejjes, l-irwejjah u l-kuluri ta’ l-ambjent li jkun qed jigi deskritt (bhal belt gdida jew l-isbuhija naturali tal-post matul l-istaguni), imma anki b’referenzi ghall-fawna lokali-Awstraljana bhal “kangaroos”, “currawongs”, “lyrebird”, “red bellied snake”, “wallaby” u “wombat”. Id-deskrizzjonijiet tal-pajsagg rurali Malti ximindaqqiet jikseb mill-poetiku u min-nostalgiku, filwaqt li l-aspett kromatiku jaghti laqta pittoreska lil-livell narrattiv. Id-deskrizzjonijiet jintrabtu wkoll ma’ l-ikel ta’ l-imghoddi, dettalji arkitettonici, u aspetti marbutin mal-ligi, l-infrastruttura u s-sigurta`. Jinhass sewwa l-fatt li l-awtrici ghamlet ricerki dettaljati dwar l-epoki storici li ttrattat fir-rumanz.
Il-kliem bil-Malti (“gibjun”, “kerrejja”, “kurpett”, “musbieh”, “kenur”, “Sabiha”, “habaq”) jintuza mill-bidu nett. Insibu wkoll il-laqmijiet (“Ix-Xummiema”, “Ta’ sormom catt”, “Il-Misthi”, “in-Niexef”), l-idjomi jew il-qwiel (“hallata ballata”, “Il-bahar zaqqu ratba u rasu iebsa”, “ajma ma”, “Kerha fin-nieqa sabiha fit-tieqa”) u anki xi ismijiet ta’ hut (“Gharusa”, “Lhudi”, “Zabri”, “Kahli”, “Xilep”) li jghixu max-xtut Maltin. Dawn kollha jaghtu lir-rumanz laqta aktar awtentika.

IT-TEMATIKA U AMBJENTAZZJONI
Of Cloves and Bitter Almonds hu rumanz li jinnarra storja ta’ xoghol iebes, ta’ passjoni u dedikazzjoni, fi gzira minuskola fejn jahkmu s-superstizzjonijiet. Huwa wkoll rumanz li jibbaza ruhu fuq ghadd ta’ temi bhalma huma l-familja, l-emancipazzjoni tal-mara u l-moviment femminista, l-qghad u l-emigrazzjoni, ix-xjuhija u l-mewt, il-vjagg, it-twemmin u l-biza’ mill-ispirti hziena. Hu wkoll xoghol li jittratta waqtiet differenti mill-hajja: imhabba, mibeghda, twelid u mewt, ugigh il-qalb, ferh, abbundanza, theddid, tama u biza’.
Il-familja (spiss dik estiza, bhall-familja li ghexet fiha Sylvia jew dik ta’ Lola u Wistin, flimkien ma’ wliedhom, Indri u Tumas, jew il-familja tat-Tabib Musulman tas-seklu 9, jew dik ta’ Menzju, martu u z-zewgt ibniet Stella u Ruzann Bonanno) niltaqghu maghha sa mill-bidunett. Imma hija familja li bil-wasla taz-zminijiet moderni titnaqqa’ minhabba ragunijiet differenti bhalma huma l-emigrazzjoni, il-firda politika, l-emancipazzjoni tal-mara, anki l-mewt. Fl-imghoddi kienet titnaqqa’ minhabba theddid mill-ghadu, jew minhabba ghajbien f’daqqa ta’ certi persuni, jew minhabba mard u mewt.
It-tema ta’ l-emancipazzjoni tal-mara narawha permezz ta’ personaggi bhaz-zija Esther (reminixxenza tal-motto “make love not war”), u l-istess Sylvia li l-ewwel tfittex indipendenza minn missierha (billi tizzewweg u temigra) u wara minn zewgha (billi taghzel li tibqa’ l-Awstralja ma tinzilx lura Malta ma’ zewgha). U dan bla ma ninsew kliem Gianni Farrugia fis-seklu 15 li jghid, “A woman... is like a donkey, a rope tied qround her neck to go any which way her husband wants her to go, to do his bidding.”
It-tema ta’ l-emigrazzjoni tmur id f’id ma’ l-isfond storiku marbut mal-bidu tat-tieni nofs tas-seklu 20, zmien ta’ bidliet kbar u ta’ tranzizzjoni. Il-partijiet li jirreferu ghas-snin hamsin, sittin u sebghin, b’dak kollu li gabu maghhom (Indipendenza, Interdett, premjijiet u kastigi ta’ natura politika, id-differenza bejn il-klassijiet socjali, l-isfruttament ta’ l-art imma anki ta’ opportunitajiet ta’ natura kummercjali ghal skopijiet ta’ profitt personali), zgur li jinteressaw hafna lil qarrejja barranin.
Partijiet storici li jinteressaw zgur li min mhux midhla daqstant ta’ Malta huma dawk li jittrattaw Malta taht il-hakma Aglabita (zmien ta’ paci, armonija, tolleranza, zvilupp u prosperita`, ghall-popolazzjoni maghmula minn Insara, Musulmani u Lhud); u zmien is-seklu 15, mela Malta taht ir-Re Alfons, il-piz tat-taxxi fuq il-bdiewa Maltin, il-grajja ta’ Malta mibjugha lil Monroj, is-sagrificcji li l-popolazzjoni Maltija ghamlet biex tixtri lura lil art twelidha, u t-theddida mit-Tork meqjusa bhala kalamit¿.
It-tema tal-vjagg tista’ thares lejha minn perspettivi differenti. Hemm il-vjagg fiziku-spazjali marbut ma’ l-emigrazzjoni, vjagg twil, li kien jehtieg kuragg u sagrificcju min-naha ta’ min jiddeciedi li jidhol ghalih, vjagg li dak li jkun ma kienx jaf ezattament fejn se jiehdu. Hemm ukoll il-vjagg tal-mara u l-kisba tad-drittijiet taghha matul iz-zminijiet. Anki dan kien vjagg li ra bosta sagrificcji, tbatijiet u abbuzi. Imma fuq kollox hemm il-vjagg fil-memorja li taghmel Sylvia stess hi u tikteb, vjagg ta’ tiftix ghall-gheruq, u vjagg ta’ tiftixa gewwa nnifisha biex taghraf aktar hi min hi.
Hemm imbaghad certi mudelli arketipici li jintrabtu mal-gzejjer Maltin bhalma huma s-sigra tal-lewz, il-bahar, ir-rih tramuntana, imma anki l-gibjun, li minkejja d-distanza spazjali u temporali li tifred lil Malta mill-Awstralja, xorta wahda jibqghu stampati solidi f’mohh l-awtrici u b’hekk jissemmew aktar minn darba fir-rumanz.
Bhala ambjenti spazjali mbaghad ghandna lil Malta fil-prezent u f’epoki imghoddija differenti, lill-Awstrajla (minn fejn Sylvia qed tikteb) u anki l-Ingilterra (fejn Esther tmur tghix ghal xi snin). Johrog ghalhekk il-kuntrast bejn l-gheluq spazjali u mentali ta’ Malta maskilista (fejn in-nies tedha bit-tqasqis li jinghad dwar il-girien, bil-politika partiggjana u bis-superstizzjonijiet), u l-ftuh ta’ gzira-kontinent bhalma hija l-Awstralja, b’sistema edukattiva fejn l-istudent jigi mghallem kif jistaqsi u jkun kritiku, jesprimi ruhu, u fejn tezisti popolazzjoni multikulturali (xi haga simili ghal Malta taht l-Aglabiti) bbazata fuq il-libert¿ ta’ l-espressjoni. Hu veru li fl-Awstralja, “Money was god, Manufacturing a new age religion and Factories places of worship”, imma hu veru wkoll li l-Awstralja ghal hafna serviet bhala harba minn ambjent dejjaq u mimli ihirsa.

IL-PERSONAGGI
Dan huwa rumanz miktub minn mara b’ghadd kbir ta’ personaggi nisa. Pero` dan ma jfissirx li ma niltaqghux ma’ personaggi rgiel. Of Cloves and Bitter Almonds jissejjes fuq ghadd ta’ personaggi nisa ta’ certa sahha u karizma.
Lil Sylvia nsiru nafuha sa minn meta kienet tifla u aktar tard adoloxxenti. Hija dik li fl-imghoddi kienet “thares”, tosserva dak kollu li jkun ghaddej fid-dar ta’ B’Kara. Sylvia hija wkoll il-“maghzula”, flimkien ma’ nannitha Anni, li tara liz-zewg nisa misterjuzi (ihirsa mill-imghoddi) taht is-sigra tal-lewz fil-gnien. Aktar tard, meta tikber, Sylvia ssir l-“iscrivener” li tfittex fl-imghoddi taghha, ta’ familtha u tad-dar ta’ B’Kara, biex tiskopri t-tarf tal-kobba mhabbla.
Iz-zija Esther hija dik li tghaddi minn fazijiet u bidliet differenti matul hajjitha. Wara zjara qasira f’Lourdes hija tghaddi minn zmien fejn tinza minn kull ghata materjalistika u thaddan hajja spiritwali filwaqt li tinghalaq fiha nnifisha. Imma wara terga’ lura ghalli kienet qabel. Hija l-personagg femminili li jissimbolizza l-liberta` sesswali, imma anki dik li taf kif tahfen l-opportunita` (carpe diem!) u flimkien ma’ Sandy u Rocky Attard titla’ t-tarag li jwassalha ghas-success materjali permezz tal-manipulazzjoni u l-isfruttament tac-cirkustanzi.
Fl-Awstralja Sylvia tiltaqa’ mar-Russa Claudia li tqarribha lejn il-letteratura Russa permezz ta’ Tolstoi u Turgenev, u tghallimha kif issir indipendenti.
Hemm imbaghad Lola (seklu 9) li, b’kuragg u b’rieda kbar, jirnexxilha taqsam il-Port il-Kbir bil-ghawm flimkien ma’ zewgha, minkejja li tqila. Marbuta ma’ l-istess seklu naqraw ukoll dwar il-Musulmana Dhabab, mart it-Tabib. Hemm ukoll Smaira li tirrakkonta l-istorja tan-nisa differenti ta’ dan it-Tabib Musulman, u dan fi zmien meta l-mara kienet aktar meqjusa bhala oggett jew ghamara, u magna biex twelled l-ulied.
Zewg nisa ohra ta’ certa sahha jintrabtu mas-seklu 15, Stella Bonanno u l-qabla Dolor. Stella hija dik li tmexxi l-attivitajiet kollha tad-dar u tiehu hsieb lil ohtha semplici, Ruzann. Hija dik li timpjega lil Gianni Farrugia u aktar tard taghzlu biex ikun il-mahbub taghha, minkejja l-ilsien hazin tal-girien. Spiss Drofenik jirnexxilha tikxef l-aktar bezghat u xewqat mistura u intimi tad-dinja femminili bis-sahha ta’ dan l-album ta’ personaggi nisa mill-aktar varjat.
Jispikkaw ukoll xi personaggi rgiel (anki huma suggetti ghal sentimenti umani u ghal waqtiet ta’ dghjufija u wgigh il-qalb), ghalkemm fuq skala inferjuri. Naqraw dwar ir-rabja u t-tbatija ta’ Albert (missier Sylvia) li ha jitlef lil tnejn minn uliedu li se jemigraw ghax missierhom mhux tat-tajjeb: “Oh it was like a death this separation, this going away, this disappearance into the unknown and the unfathomable.”
Hemm Wistin (seklu 9) li jaddotta lil tarbija li tkun tilfet lill-genituri taghha wara qtil makabru u misterjuz, u t-Tabib Musulman (bniedem ta’ gherf kbir, mohh miftuh u generuz) li jiehu taht idejh l-edukazzjoni ta’ Tumas (l-iben l-iehor ta’ Wistin) li juri interess fil-medicina. Hemm ukoll Gianni Farrugia (seklu 15), Tal-Melh, li jitlaq mid-dar tal-genituri biex isib hajja ahjar, ’il boghod mis-sakra ta’ missieru u mit-tbatija ta’ ommu.
Ta’ min jghid pero` li din hija biss lista parzjali tal-personaggi li jiehdu l-hajja f’Of Cloves and Bitter Almonds. Hemm il-personaggi “tajbin”, bhalma hemm il-“hziena”. Flimkien dawk kollha jinteragixxu biex fl-ahhar mill-ahhar Lou Drofenik tohloq haga shiha u organizzata (dan it-tielet rumanz taghha) li taf taghti gost lill-qarrej taghha, imma fl-istess hin tistiednu jirrifletti dwar il-hajja u l-bniedem ingenerali.

Patrick Sammut (Gunju 2008)

Un progetto riuscito tra Morbegno e Malta

Alcune settimane fa e` uscita l'antologia poetica col nome I Silenzi della Montagna e le Voci del Mare/ Silences of the Mountain and Voices of the Sea (Circolo Culturale Filatelico Numismatico Morbegnese, 2008, 164 pagine). Questa raccolta di poesie in italiano e in inglese e` stata frutto di una bella collaborazione tra il Comune di Morbegno (una regione montagnosa nella Lombardia) e l'isola di Malta (accerchiata dal mar Mediterraneo). Le poesie sono numerose, come numerosi i partecipanti (90 poesie in italiano e 30 in inglese).

Tutto e` nato dall'invito di un membro dell'Associazione dei Poeti Maltesi, Therese Pace, a iniziare una collaborazione con la poetessa Paola Maria De Maestri. Cosi e` stato, anche grazie alla corrispondenza regolare tramite e-mail tra la De Maestri e il Segretario Internazionale dell'Associazione dei Poeti Maltesi, il Signor Emmanuel Attard Cassar.

Insieme alle poesie in italiano e in inglese ci sono anche delle annotazioni biografiche che gettano luce sui poeti partecipanti in questo progetto bilaterale.

I poeti maltesi che hanno partecipato a questo progetto sono tutti membri dell'Associazione dei Poeti Maltesi (http://www.ghpm.netfirms.com/ ): Alfred Massa, Charles Magro, Patrick Sammut, Mary Doris Chircop, Emmanuel Attard Cassar, Joseph Axiaq, Alfred Calleja, Mario Attard, Jonathan Balzan, Carmel Bianchi, Gorg Borg, David Borg Attard, Amanda Busuttil, Miriam Camilleri, Mary Grace Caruana, Godwin Cini, Rita Debono, Noel Fabri, Raymond Grech, Guido Lanfranco, Carmel Mallia, John Mallia, Jane Micallef, Maurice Mifsud Bonnici, Therese Pace, Alfred Palma, Salv Sammut, Omar Seguna, Therese Vella e Joe Zammit Tabona.

Progetti e collaborazioni come questo sono da lodare!

Zifef u Rwiefen - New poetry anthology

Zifef u Rwiefen (Breezes and Gales) is now out. It is a collection of 40 poems in Maltese (some in English) written by Patrick Sammut (1968) and Stephen Cachia (1976). The two poets write about a number of themes such as war, love, social problems, the self and natural environment. The book has a critical introduction written by Dr. Charles Briffa (Univ. of Malta) and a comment by journalist and poet Charles Flores. It also has a set of beautiful and strong sketches drawn by the late Norwegian artist and teacher Olaug Vethal (to whom the book is dedicated). The cover was designed by young artist and art teacher Hilary Spiteri.
Patrick Sammut, Stephen Cachia, Hilary Spiteri and Olaug Vethal are all teachers at the De La Salle College in Cottonera, Malta.

People interested in buying a copy please contact authors on:

sammutpatrickj@yahoo.com or

stecac@yahoo.com

COMMENTS:

"I have been savouring your poems slowly too, because unlike stories I like to read one poem and then read it over and over. I read your poem Addio Sigar, and I could clearly picture the garden you meant with its almond tree and the little boy climbing a wall to look inside. I find I need to think over some of the maltese words as many of them are new to me even though I speak it well but language evolves through time and mine hasn't evolved as fast. Your poetry and that of your friend Stephen Cachia is very much like contemporary Australian poetry dealing with today's issues, I think it is a breath of fresh air to read this kind of Maltese poetry."

(Lou Drofenik)

"... re. your poem Selmun. I found it very moving! It took me straight to that place most beloved by my father who when he was young used to go trapping birds, with his own father and bachelor brothers (his brothers were too busy having a good time to get involved with begetting children and trying and feed them ) your imagery is beautiful. Keep on weaving words."

(Lou Drofenik)

Of cloves and bitter almonds by Lou Drofenik

The plot of the book I'm reading Of cloves and bitter almonds written by a Maltese-Australian novelist (Lou Drofenik) is spread on four different historical eras: the present (in Australia were the narrator is writing her story), the fifties/sixties of the 20th century (the author's early days in Malta, B'Kara), the 9th century and the 15th century (in Malta, B'Kara). The common factor is a house in which different generations of men and women lived. There is a mystery hidden behind this house. The narrator tries to go back in time in order to uncover such a mystery which goes back for centuries.
Thus the novel is a voyage through time, memory and also space (Australia and Malta). It is also an intimate voyage in which the narrator tries to understand better herself and her roots.
The novel also treats the relationship between man and woman, the importance of the family, the Maltese rural environment, superstitions, fears, but also the emancipation of women.
Personally, I found the beginnig a bit slowmoving but as I continued reading and as the narrator introduced flashbacks about Maltese living way back in the 9th and the 15 centuries the plot started to regain energy and pace.
I liked also the mixture of the imagnative part of the story with the historical background which Drofenik builds after referring and reading the right reference books.

Poem by Pablo Neruda

You start dying slowly

You start dying slowly

if you do not travel,

if you do not read,

If you do not listen to the sounds of life,

If you do not appreciate yourself.

You start dying slowly

When you kill your self-esteem;

When you do not let others help you.

You start dying slowly

If you become a slave of your habits,

Walking everyday on the same paths...

If you do not change your routine,

If you do not wear different colours

Or you do not speak to those you don't know.

You start dying slowly

If you avoid to feel passion

And their turbulent emotions;

Those which make your eyes glisten

And your heart beat fast.

You start dying slowly

If you do not change your life when you are not satisfied with your job, or with your love,

If you do not risk what is safe for the uncertain,

If you do not go after a dream,

If you do not allow yourself,

At least once in your lifetime,

To run away from sensible advice...

Pablo Neruda

A visit to Romania - May-June 2008

Romania is the 12th biggest country in Europe. Its territory is divided almost equally between mountains, hills and plains. I have been hosted by colleagues in the North East city of Iasi (which has a population of about 360,000) during my Comenius Programme visit (SPEAR). They did their very best to make our visit to Romania one not to forget.
Romania became part of the European Union in January 2007. It is thus a country which is doing its best to renovate sectors such as the infrastructure. Great part of its territory is dedicated to agriculture and the travelling tourist will never forget the many rural scenes and the beautiful natural scenarios.
A big THANKS to all those who made our visit to Romania very pleasant.

The Medieval Monasteries such as those of Homer and Voronet.

The local crafts industry - Marginea and Barsana.

A country in continuous evolution but which respects its past patrimony.

In Sighet, a prison transformed in a museum to

commemorate tje victims of commnism and the

Resistance movement.

The Happy Cemetery in Sepanta.

Hand sculpture in the salt mine in Cacica.

A Catholic church in the countryside and the monument of Moisei.

Right: Part of the University of Cuza in Iasi.

The Three Hierarchs Church, built in 1639

Alfred Palma, Roberto Benigni and Dante Alighieri

A few weeks ago the University of Malta invited director and actor Roberto Benigni and assigned him a Doctorate (Honoris Causa) for his work regarding the Divina Commedia of Dante Alighieri. The University of Malta also invited a foreign professor who presented his version in English of the Divina Commedia. The same University totally neglected poet and translator Alfred Palma who for 20 whole years (1966-1986) worked on the Divina Commedia in order to translate it in verse (using Dante's same rhyming schemes) from Italian into Maltese.

I felt it a must to interview Alfred Palma (also an Honorary Member of the Maltese Poets Association) in relation to this unacceptable voluntary/involuntary incident.

____________________________________________________________________

1. Alfred Palma, traduttur tad-Divina Commedia ta' Dante mit-Taljan ghall-Malti. Minn fejn twieled progett ambizzjuz bhal dan? X'ghamlt inti li m'ghamlux nies bhal Erin Serracino Inglott fil-kaz tad-Divina Commedia?

1. Lil Dante ili nhobbu sa minn zmien l-iskola, meta bdejt nistudja d-Divina Commedia fil-verzjoni ta' Tito Casini Per loco eterno. Dak il-vjagg mistiku u misthajjel kien sahharni u, ukoll dak iz-zmien, kont nimmagina kif opra hekk kbira setghet tinstama' bil-Malti
Maz-zmien ix-xewqa tat-traduzzjoni bdiet tikbes go fija, aktar u aktar meta skoprejt li Malta ma kellhiex traduzzjoni shiha u irrimata ta' dan ix-xoghol hekk kbir. Fl-1964 hareg l-Infern ta' Erin Serracino Inglott, xoghol tajjeb immens u maghmul b'reqqa kbira; izda ma kienx irrimat. U kien dan li xprunani, fil-hegga ta' zghoziti ( 26 sena) li nidhol ghal din it-traduzzjoni. F'jum sajfi ta' l-1966, imbaghad, intfajt nghaddi z-zmien fuq kopja qadima tad-Divina Commedia ta' Eugenio Camerini (1883) u fettilli nittraduci l-ewwel ftit versi ta' l-Infern. Ittantajt nirrimahom u rnexxieli, u temmejt ix-xoghol kollu 20 sena wara, fl-l986, ezawrit u mkisser, izda sodisfatt ghall-ahhar!

2. Kemm ippubblikajt kopji tad-Divina Commedia bil-Malti? Sibt ghajnuna finanzjarja? Fadal kopji ghall-bejgh?

Ippubblikajt elf kopja ta' dan ix-xoghol. Ghajnuna finanzjarja xejn, u minghand hadd! U mn'Alla kien is-Sur Paul Zammit tal-Palprint Press li ndahal biex jistampahieli (spejjez tieghi) ghax kieku dan ix-xoghol ghadu fuq l-ixkaffa. Illum fadalli biss xi ghaxar kopji, u qieghed nibza' ghalihom.

3. Inghatajt xi tip ta' rikonoxximent lokali ghal progett kolossali bhal dan li hadlek 20 sena minn hajtek?

Rikonoxximent lokali? Xejn! Anzi bosta intellettwali dehru li nhasdu bix-xoghol tieghi u halfu li jinjorawh sa mill-bidunett. Jien iben haddiem umli tat-tarzna u wara ismi ma ngibx ittri. Ghalhekk l-intellettwali, mhux minghajr doza qawwija ta' ghira, halfu li jinjorawni, u din il-halfa zammewha sa ftit jiem ilu, meta Roberto Benigni zar Malta biex jinghata l-Honoris Causa. Imma jien kont naf li ghamilt xoghol tajjeb, u l-mostru ta' ghajnejh hodor QATT ma bezzaghni; anzi dejjem kattar fija l-kuragg biex nissokta sejjer minkejja kollox.

4. Kif hassejtek meta sirt taf li l-Universita` ta' Malta stiednet lil Benigni biex jirrecta partijiet mid-Divina Commedia (u taghtih rikonoxximent akkademiku gholi), u anki lil professur barrani biex anki jbiegh kopji tal-verzjoni tieghi tad-Divina Commedia bl-Ingliz, u lilek ma ftakritx fik? Tixtieq taghmel xi osservazzjonijiet rigward dan?

Weggajt hafna; mhux tant ghalija milli ghal Malta u ghall-Ilsien Malti. U ghadni nwegga' hafna meta nara lil Malta imkasbra mill-istess uliedha, li ghalihom ghadha Cinderella, u postha fil-kcina! Ulied ingrati, mkabbrin u suppervi, allat zghar tat-tafal, li ghadhom jilghaqu u jincensaw dak kollu li hu barrani, jiccekknu quddiemu huma u jcekknu maghhom lil Malta, li tibqa' tibki fil-kcina!

5. Gieli inghatajt jew se tinghata xi tip ta' rikonoxximent minn barra ghax-xoghol tieghek fuq id-Divina Commedia bil-Malti? Tixtieq tghid xi haga dwar il-Progetto Dante f'Ravenna?

Rikonoxximent formali minn barra ma kellix. Izda sa mill-1991, meta hrigt dan ix-xoghol, sibt hafna ghajnuna morali u rikonoxximent informali mill-Ambaxxatur Taljan ta' dak iz-zmien, Dott. Marino Fleri, li xtara ghadd kbir ta' kopji tat-traduzzjoni tieghi biex iqassahom lil bosta personalitajiet, fosthom lill-Presdent ta' l-Italja, Oscar Luigi Scalfaro.
Dwar il-Progetto Dante 2008, li fih inhossni kburi li int se ssehibni, tifhem li din l-okkazjoni unika ma setghetx giet f'mument aktar ironiku minn dan. Hija tabilhaqq katarsi ghalija, balzmu fuq il-ferita li, jekk Alla jrid, f'Settembru li gej, go Ravenna, ftit passi boghod mill-qabar ta' Dante, se jkolli l-okkazjoni li nzid isem Malta ma' dawk tal-pajjizi l-ohra li ghandhom it-traduzzjoni taghhom tad-Divina Commedia. Iva, habib, dakinhar, int u jien se nohorgu lil Malta taghna mill-kcina!

(May 2008)

Interview with poet and artist Stephen Morris

1. Stephen Morris today is both a poet and a painter. From where did this love of verse and art come ?

At the age of three I was separated from my parents to live in Somerset, in the South of England, for five years. I didn’t speak until I was seven years old and on reflection I detested my childhood. My grandfather, with whom I lived at that time, was a brutal man who would discipline my brother and I with verbal abuse, beatings and sometimes keeping us tied up like dogs. Dirty boots would stimulate frenzied thrashings. I hated and loved my grandfather, but I had little respect for him.
I now believe that because of those early traumas I lived from an early age in my head and with my own imagination, Perhaps in many ways I still do. Academically, I was backward at school. I failed my grammar school entrance examination, aged 11 but at 13 I passed an entrance examination to a junior art school in Birmingham. Because of my August birth date I was always the youngest child of my academic year which had advantages and disadvantages. Art was, I believe, my way of communication but as I was not very successful at art school I left to work in a series of dead end jobs mostly in factories. One such job was in Cumberland, in the North of England.. One Sunday, I remember when aged fifteen, I caught a bus from Workington to Keswick a small town right in the heart of the Lake District. It was there discovered William Wordsworth and I stood on the very spot where he wrote his famous poem Friars Craig. These events, I think were the initial stimulation for both my art and poetry and from there they grew in the fertile pastures of my imagination.. There were certainly no teachers to guide me and I have always been a self motivator. I am , for me, the most reliable person I know, believing the old maxim, if you want something doing, do it yourself.

2. The reader of your poetry and viewer of your art soon understands that there is something special in your production which puts it somewhere between the simple and the beautiful. How do you react to such a statement ?

The question throws me a little and I will try to avoid a pretentious response. I have always believed that an artist, in the broadest sense of the word, must be able to communicate his work if he or she doesn’t what is the point ?. People naturally react differently to different things, Some people are determined to find hidden meanings in anything and in the past have read ideas and symbols into my work that consciously I have not been aware of. I don’t mind this at all as there are certainly a number of levels that I do operate on.. On the one hand there is the series of paintings that I did on the Holocaust following what was for me quite a traumatic experience when I visited Auschwitz-Berkineau in Poland. In that instance the paintings were totally in the face of the viewer. Bang, no punches pulled.. A political, an artistic, a sociological, a psychological, a racial, an historic and an emotional statement ,take your pick. Not long after I produced a series of paintings about Stonehenge, which attracted so many interpretations especially on the theme of twelve. I used twelve colours in the paintings, there were of course twelve paintings that were subdivided into twelve. Twelve months of the year,, twelve disciples, who followed Christ, There were twelve Greek and Roman Gods and on it went. The exhibition opened on mid-summers day in Salisbury which is quite near to Stonehenge. I had really hoped that a flying saucer was going to land but it didn’t. The paintings though did stimulate many interpretations which I found both flattering but also mystifying.
Yes I do try to be simple without been simplistic. I find beauty everywhere, both in the physical and the abstract. Oddly, and this maybe for some, a controversial statement, I found even in the ugliness of the twin towers attack in New York there was something hypnotically beautiful. The images of the planes as they flew into the building, The mesmerizing effect of people jumping to their death, to be followed by the collapse of the buildings. Finally, the twisted metal that remained created by the collapsed girders, could have been interpreted as an staggering piece of sculpture. What I feel is that beauty can be everywhere but I hastily add I never saw any beauty in Auschwitz not for a single moment.

3. What do you think about the relationship between the poet/artist and society/politics?

Historically in totalitarian political regimes, poets and artists are often the first to be imprisoned or executed. Artists and poets have imaginations, the rulers know this for they could be dangerous as they make people think. Dictators don’t want people who think. The true artist, in my opinion, not only should reflect the society he is in, but should be critical of it and attempt to change it, especially if that society is corrupt and restricts freedom. The pen and the paint brush are mightier than the sword, nes pas?

4. Apart from the social and political issues you write and paint about love. Which of these is most important for Stephen Morris ?

Love like wine comes in different bottles and has different tastes. I am not sure that it gets better with age though. Loving my children, as I do, is obviously different to loving a woman. With the latter I don’t think I have been very good at it and this may be due to a deep insecurity. I have bruises, scars and wounds to prove it. A couple still bleed as well. I think romantic love is an art form created by man, not women, they are too practical for that. Men write all the love songs and the love poems and seem to suffer more. My time for all that hopefully ran out ages ago thank goodness. I don’t ever want to go through being in love again even if it did stimulate within me some interesting work. So to answer the question , right now social and political issues are more important but when I was younger and the sap was rising through my body continually, love was.

5. Does Stephen Morris as a poet/artist believe in art for arts sake. Or does he believe that there must be something else behind the words and colours ?

I think that what is behind my motivation is compulsion. I have to create full stop and for most of my life I have. There was a period from 1985 to 1995 where I didn’t create anything, well very little. It was one of the darkest periods of my life where I came to the brink of life and death a few times. I sought relief in alcohol, sex and an insane and somewhat idiotic life style. I partially saved myself by going to work in a Children’s Home in Birmingham,. The young people there , were in every way, far worse off than myself.
If there are things in my work to detect it is for others to find . I have never thought of art for arts sake . There are many motives for creating art. Some artists make art for fame, others for money. There are some who use it a therapy and some to make a political statement as I previously covered . However, for whatever reason, to be a creative artist can be agonising but then there are times when it is ecstatic. Depending from which direction you are coming . I certainly believe a true artist has to suffer but maybe it is not obligatorily i.e. you don’t have to suffer to be a true artist. Some of my heroic figures certainly suffered for their art and in some cases died for which has to be interpreted as a futile gesture under any circumstances..



6. You write verse, short stories, paint and travel a lot. Why is travelling important for an artist?

I can only answer for myself. I travel for inspiration and a desperate urge to see over the next hill. Travelling can also be a drug. At the moment I am quite content to be living in the South of France. I mean who wouldn’t be ? I have though in the past been greatly influenced by travelling. My series of painting on the Grand Canyon and Monument Valley in the U.S.A. bear witness to that, just as Stonehenge was and my visits to the Holocaust death camps for which I wasn’t really prepared for, emotionally that is.. However, the natural phenomena of The Grand Canyon and Monument Valley are the two wonders of the world I would urge people to see before they die.

7. What do you think of poetry evenings and art exhibitions. And about the role of art and poetry magazines, internet and the media in general when it comes to expose to the public the artist ?

Poetry readings are fine, There has to be an instantaneous rapport though with the audience. Over the years I must done over 1000 plus readings and its only now that I do not become nervous. It was always a few slugs of whisky before I went on stage , but never these days. Reading poetry has also enabled me to visit the strangest and wonderful places and to move in to literary circles that would have been impossible to experience. It also gave me the opportunity to meet and make friends with other poets especially when touring. They were great days which I do not regret at all. Exhibiting is another ball game entirely . There is no personal performance. The work is there on the wall to be scrutinized and criticized. With a poetry reading you would move on to the next gig virtually as soon as it was over. With exhibitions, the work is there hanging on the wall waiting to be condemned by anyone and everyone and that has occurred a few times in the nightmare past.
I am not sure about the net. I suppose it will take over everything eventually, Shopping, banking, films, meeting partners, hopefully wars will be fought on the net rather than in reality. It is a technology that I will never catch up with but I acknowledge its importance and its value and I am still amazed by it. I do hope that poetry magazines will survive as I think they will. I love the idea of seeing my name in print underneath a poem that I have written. Fantastic. I am still so interested in ideas, in working at projects in all kinds of means of expression and medias. I worry about death only because I want to do so much and really I want to live until I am one thousand, and even that wouldn’t be long enough.

8. Stephen Morris and his visit to Malta. Reflections and future projects.?

My recent visit to Malta was so good. I found everyone to be very helpful, generous and kind. When I was young I had a pen pal who lived in Sliema. We were, and I still am, Aston Villa supporters so I was aware of Malta from an early age as well as for the heroics in the second world war. In the seventies I was invited by the President of the Country, ( who was a poet ) to visit Malta. For many reasons I did not take up the generous offer which I regret it to this day. Of the many artists I admire the one who comes head and shoulders above the rest is Caravaggio and incredibly he lived in Malta, This makes the country extra special for me. I have been on the trail of Caravaggio for many years making special trips to Rome and Florence and Paris to see his work. This artist inspires me and my love affair with his work began many years ago in Dublin when I first saw his painting called ‘The Taking of Christ’ It is an extraordinary and magnificent piece of work with a brilliant use of light.. I am looking forward to my return visit to Malta at the end of September, when the Maneol Theatre are showing my exhibition called ‘Homage’ I hope also to be giving some poetry readings as well during my visit.

Thank you for giving me the opportunity to express myself and I hope it was something such as this that you imagined.

(May 2008)

About Esperanto

Regarding my post "Another poetry evening by Maltese Poets Association", Brian wrotr the following:

"I thought that your comment about Esperanto was somewhat disparaging."Even Esperanto" Can I add therefore that Baldur Ragnarsson, from Iceland has been nominated for the Nobel Prize for Literature, 2008.You might like to check out http://www.Esperanto.net ".

I fully agree with Brian. However, what I really wanted to mean with that "even" was that during our Poetry Evenings people attending have also the privilage of listening to poetry read in Esperanto. No offence then.
Thanks Brian for your positive comment.

NOSSIDE - Premio Internazionale della Poesia - data di scadenza 30 giugno 2008

Nella foto si vedono il Prof. Pasquale Amato e il poeta e ambasciatore del Nosside, Giuseppe Cardello.

Il Viaggio del Nosside 2008 da Reggio Calabria al Mondo nel Montenegro, in Sardegna, a Malta e a Santo Domingo


Dopo il felice avvio alla Fiera Internazionale del Libro dell’Avana e la splendida seconda tappa nell’Istituto Italiano di Cultura di Città del Messico, il “Viaggio del XXIV Premio Internazionale di Poesia Nosside 2008 da Reggio Calabria al mondo” - http://www.nosside.com/ - è andato avanti toccando altre tappe: Podgorica capitale del Montenegro, Olbia in Sardegna, La Valletta capitale di Malta e Santo Domingo capitale della Repubblica Dominicana.
A Podgorica il Terzo Evento del Viaggio si è svolto nella storica Libreria Karver. La poetessa montenegrina Svetlana Kalezic, Vincitrice Assoluta del Nosside 2003 e Ambasciatrice del Premio nel mondo, e la prof.ssa Maria Teresa Albano, Presidente del Centro Italiano di Cultura, hanno illustrato gli elementi caratterizzanti della XXIV Edizione. Sono seguite le Letture delle poesie della stessa Kalezic e degli altri due poeti montenegrini premiati dal Nosside negli anni scorsi: Andrjia Radulovic (uno dei 4 Vincitori del 2005) e Milena Moskov (tra i 4 Vincitori del 2006).
Col Patrocinio del Comune, Olbia ha ospitato nel suo nuovo Museo Archeologico il Quarto Evento del Viaggio. Ha avuto per protagonisti i Poeti sardi che sono stati Vincitori Assoluti nelle 23 edizioni del Premio. Hanno presentato l’Edizione 2008 il Poeta di Berchidda Antonio Rossi – Ambasciatore del Nosside e Vincitore Assoluto del Premio nel 2001 – e Cristina Ricci – Presidente dell’Associazione italo-tedesca ACIT di Olbia. E’ stata poi la volta delle letture di poesie dei sardi Vincitori Assoluti: lo stesso Antonio Rossi, Giovanni Fiori di Ittiri (III Edizione del 1986), Rosario Porcu di Nuoro (VI edizione del 1989) e Giuseppe Tirotto di Castelsardo (Vincitore del 2002). Le Letture sono state intervallate dai “soffi di clarinetto” di Pietro Uleri e si sono concluse con un Recital del Coro Folk Santu Sabustianu di Berchidda.
A Malta il Viaggio del Nosside ha fatto tappa nella bella sede dell’Istituto Italiano di Cultura. Ha introdotto la Direttrice dell’Istituto Anna Maria Di Marco, mentre il Premio 2008 è stato illustrato dal Presidente Fondatore prof. Pasquale Amato affiancato da Tatiana Vavachin, componente della Segreteria del Premio per l’area anglofona. La seconda parte dell’Evento è stata dedicata all’esibizione del Poeta Cantastorie siciliano Giuseppe Cardello di Lentini, Vincitore Assoluto del Nosside 2000 e Ambasciatore del Premio.
La più antica città coloniale ispanica di America, Santo Domingo, ha ospitato nella sua XI Fiera Internazionale del Libro la presentazione del Nosside 2008. Protagonista dell’Evento è stata la poetessa Rosa Silverio, Vincitrice Assoluta del Nosside 2005 e Ambasciatrice del Premio. Ha presentato la nuova Edizione ed ha poi curato la lettura di poesie sue e di altri poeti.
In tutti gli Incontri sono stati esposti i risultati del Nosside 2007 e illustrate le conferme e le novità del Nosside 2008, evidenziando che il Nosside, unico concorso globale di poesia inedita, ha in corso le iscrizioni sino al 30 giugno.
E’ stato anche precisato come si può partecipare con opere inedite al Nosside 2008: si apre il sito http://www.nosside.com/ e si invia a info@nosside.com e segreteria@nosside.com una e-mail con Allegati i seguenti files: 1. scheda di iscrizione compilata; 2. a) per il partecipante nella poesia scritta tre poesie a tema libero ciascuna non superiore a 50 versi; b) per il partecipante nella poesia in video un’opera non superiore a 4 minuti con video in jpg o media player; c) per il partecipante nella poesia in musica una canzone in MP3. La quota di partecipazione - diversificata in base al Paese di appartenenza e senza obbligo di spedire copia della Ricevuta - può essere versata attraverso due canali indicati nel Sito: pay-pal (valido per tutti, ma consigliato soprattutto agli extra-europei) o Conto corrente postale (consigliato soltanto agli Europei).
Il Vincitore Assoluto otterrà 2000 Euro, la Targa Nosside in Argento di Gerardo Sacco e tre poesie nell’Antologia multimediale (Libro+DVD) “Nosside 2008” ; ciascuno dei 4 Vincitori 1000 Euro, la Targa Nosside e una poesia in Antologia; ciascuno dei 6 Menzionati Speciali 500 Euro, la Targa Nosside e una poesia in Antologia; ciascuno dei Menzionati l’Attestato Nosside e una poesia in Antologia.
Le Premiazioni si svolgeranno a Reggio Calabria il 28 novembre, seguite da due altri Eventi: un Seminario di Studi a Messina e un Recital dei Poeti Premiati a Roma.

Another Poetry Evening by Maltese Poets Association

Photos: people standing - Therese Pace, Rita Debono, Andrew Sciberras, Patrick Sammut, Lino Grech and Raymond Grech. People sitting facing camera are Alfred Massa and Charles Magro.

Last Friday 16 th May 2008 at 7pm the Maltese Poets Association held another Poetry Evening. The venue this time was the Razzett tal-Markiz Mallia Tabone, Mosta.

Members present read poems in English, Maltese and even in Esperanto. The Evening was presented by MPA's Secretary Charles Magro, while President Alfred Massa made his introductory discourse.

During the interval Patrick Sammut, the vice-President, had some time to present his new poetry book (co-authored with Stephen Cachia) Zifef u Rwiefen, reading a couple of his poems to those present.

Among those who participated through their poetry reading were Charles Magro, Alfred Massa, John Mallia, Maurice Mifsud Bonnici, Joe Abela, Therese Pace, Raymond Grech, Joseph Bonnici, Andrew Sciberras, Lino Grech, Salv Sammut, Rita Debono and Dr. Joe Zammit Tabona. The poems read presented a variety of themes and styles.
Member Lino Grech talked briefly about three of his new books in Maltese and English (prose and poetry) which will be soon out.
Thanks to the Ghaqda Filantropika Talent Mosti for the venue. For the Maltese Poets Association visit http://www.ghpm.netfirms.com/

A Maltese novelist in Australia

Lou Drofenik was born in Malta and lives in Victoria, Australia, with her family. Her great interest in Maltese identity and Maltese women's migration saw her completing a Masters degree and a PhD in this area. I met her in December 2005 here in Malta during a literary evening held by Iniziamed. She is author of three novels: Birds of Passage (2005), In Search of Carmen Caruana (2007) and Of Cloves and Bitter Almonds (2007). Hers is a perfect example of Maltese literature abroad.
See http://www.birdsofpassage.com.au/

1. Lou Drofenik emigrated to Australia years ago but hers is still a strong link with the Maltese islands. This can be seen in her three novels Birds of Passage, In search of Carmen Caruana, and her latest novel Of cloves and bitter almonds. From where comes this strong tie with the Maltese islands?

I am Maltese through and through. I was born in Malta. I was educated there and my formative years were spent there. When I came here as a young woman my identity was Maltese, and no matter how many years I spend here I will always be Maltese. Though I have changed in my ways, deep down I carry within me whatever I brought with me from Malta – the language, the stories, the superstitions, the values, the memory of the landscape and of what we did and didn’t do. This tie does not diminish with time, on the contrary it increases and for me, who is able to look in as an outsider/insider, the culture and all that went with it has become clearer and I also feel that now I am better equipped to write about it.

2. Three important themes in your novels are emigration, the past and women. Can you elaborate re such aspects?

First of all I come from a background of women’s studies where I researched and studied women’s issues especially migrant women’s issues and where I was involved with other people who were on the same track as myself. This I suppose put me on a path which was rich in migrant women’s stories and as you can imagine Australia being a nation of migrants there are innumerable stories from every place on earth. Though each of my novels deals with migration to Australia, with women’s experiences and with the past, the underlying themes in the three novels are totally different.
When I was writing Birds of Passage the way Maltese culture repressed women was always at the fore of my mind. Throughout the writing process the women’s voices in the book were very strong in my head and though I didn’t know what they were going to do, or what was going to happen to them, I knew what they were saying and what they wanted.
When I was writing In Search of Carmen Caruana the notion of silence and shame in Maltese culture was very strong in my head. I also didn’t know how the book would end or what would happen along the way, all I knew was that Carmen’s sufferings were inflicted by her father because he didn’t want the world to know what happened to his daughter. The events that happened along the way and the characters in the book all enterer into the story through that one thought.
Now for my third novel Of Cloves and Bitter Almonds. Though this also deals with the migration story of a young married couple, Steven and Sylvia, it is a very different novel from the other two. When I was writing this book the Maltese landscape was in my head, the brown soil, the winding narrow streets and lanes where I grew up in Birkirkara, and the houses. One house especially where I used to play when I was little. It kept coming before me, never leaving me alone and I kept wondering what was the history of that piece of earth where the house once stood. What people lived in it, what did they experience during their lifetimes? The women’s voices in this book were also very strong and as I write in the novel, they were insistent on having their story told. So there you are three novels and three different aspects of Maltese/Australian life.

3. I've noted various similarities between the pen of Lou Drofenik and that of international women-writers such as Italian Dacia Maraini and Isabel Allende. How do you react to such a statement?

Unfortunately I’m not familiar with Dacia Maraini’s work. I’m very familiar with Isabel Allende’s work and I love her writing. She writes from the heart and her characters come to life and are well remembered by the readers. I suppose it is very pleasing to hear one compared with such a wonderful writer. Perhaps rather than Isabel Allende I’d think my writing was influenced by Grazia Deledda, the Sardinian writer of last century. I’ve read and re-read her novels many times and I find her fluent and simple style of writing very much to my liking. Her themes too, are seemingly simple and down to earth yet when you start unfolding them, are deeply complex and full of human pathos. And of course all set in that tough Sardinian culture of her day which is reminiscent of Maltese culture of the past.

4. Is there a common factor which links your three novels?

I am a story teller, I come from a family of story tellers. I love listening to stories. I love telling stories. I love writing stories and making them up. My characters wake me up at three in the morning so that when I start writing at six my first sentence is already there waiting to be jotted down. I think the many stories within my novels, stories which go here there and everywhere and manage to come together at the end (often surprising me) are the common factor in my work.

5. You write about the Odyssey thousands of Maltese had to face during the years of emigration. Yours are stories of separation, hardship, failures, humiliation, but also about love, mutual help, perseverance and optimism. Your reactions to all this?

Life is a messy business, and we who are in the middle of it have to deal with it whether we stay in our own country or travel away from it. We fall in love, and we fall out again, we have moments of sublime happiness and months of misery, we are curious, vindictive, charitable, pessimistic, optimistic, you name it. We are burdened by our culture, by memory of things past, by fears of our future. Writing fiction is one way of exploring the way we live life wherever we happen to land.

6. The style you use in writing is very fluent, down to earth and simple. You write in English but use a number of words and phrases in original Maltese. How do your readers react to all this?

First my readers are mainly Australian. Before Birds of Passage many of these readers knew Maltese people, lived next door to them, or worked with them, but didn’t have a clue that we had our own language and our own culture. Many didn’t have the faintest idea where Malta was. I did a quick check and one person told me it was near Portugal, another near Greece. I write in English because now after forty-four years in Australia I think in English and I dream in English and though I speak and write Maltese fluently I don’t think I’m able to use the Maltese language the way I’m able to use English in a long piece of writing. Yes I do use many Maltese words in my writing because that’s the way I feel during the writing process. It’s almost an automatic response to something within me. Hard to explain. My readers haven’t complained about the Maltese, on the contrary I’ve been told that it makes the characters authentic. Both men and women who have read my two previous novels said they couldn’t put them down until they finished them. And though I always felt women would like to read my novels I have received more emails and letters from men telling me how much my books have touched them.

(May 2008)

New co-authored poetry book is out

Zifef u Rwiefen (Breezes and Gales) is now out. It is a collection of 40 poems in Maltese (some in English) written by Patrick Sammut (1968) and Stephen Cachia (1976). The two poets write about a number of themes such as war, love, social problems, the self and natural environment. The book has a critical introduction written by Dr. Charles Briffa (Univ. of Malta) and a comment by journalist and poet Charles Flores. It also has a set of beautiful and strong sketches drawn by the late Norwegian artist and teacher Olaug Vethal (to whom the book is dedicated). The cover was designed by young artist and art teacher Hilary Spiteri.

Patrick Sammut, Stephen Cachia, Hilary Spiteri and Olaug Vethal are all teachers at the De La Salle College in Cottonera, Malta.