Controlled nostalgia suffuses the fourteen poems of Ariadne Radi Cor’s new collection. She moved from Trento in northern Italy to London in 2009 to pursue her new job’s projects. In this journey towards a new life in a big city, the author expresses the disquieting sensations of the duality of language, landscape and weather in the interweaving of past memories and present reality. The two worlds are in conversation but never merge completely, leaving the self in an uncertain suspended dimension. The book is bilingual; not only are the poems translated into English by the author with the help of translators, but also the blurb, the foreword and the afterword are presented with an English counterpart.
The future is a faraway entity that is unknowable and unpredictable. Therefore, the focus of the poems is on the present in relation to the past which is unforgettable and is surrounded by an aura of extraordinariness:
Per noi solo l’indimenticabile, così non lo dimenticheremo
e comunque solo fuori casa
E papà diceva che non serviva andare a Parigi
dal momento che ero già straordinaria
For us only the unforgettable, so we’ll never forget it
and in any case always outdoors
And dad used to say I didn’t need to go to Paris
since I was already marvellous
It is a dreamlike atmosphere evoked in the reference to La Dolce Vita by Federico Fellini that connects the poem to the Italian cultural context of the time and to the illusions of memories. London, instead, is her everyday reality, which is mysterious and contingent at the same time. It is ‘a skeleton, an attendant – a skeleton […] a bowl of sugar in the rain’. She is unsettled by the absence of sunshine but eventually she learns to love London. A sense of displacement lingers in the allusion to Mary Poppins, whose bag is stolen leaving her deprived of her powers. Similarly to the heroine, the poet seems to be powerless when facing her double life between the present and the past, between London and Italy. Life goes on in London, the ‘unstoppable city’ where she finds her place but also wanders in search of meaning, in its vague ‘scent, a scent: whose, from when – whose?’ that questions her certainties:
e mi chiedo come sia possibile
se io stia occupando il posto di un’altra di proposito o per errore
e se questo fosse un mio errore
o l’errore di un’altra.
and I wonder, how did this happen
and I taking the place of another intentionally or by error
and is this my error
or someone else’s.
It is an adventure, a journey towards a more complex identity that challenges her origins and enriches them too in a progression that is not always easy. She wishes to rewind, to go back to the past, to her ‘Tyrolean dress’, but she also wants to face the opportunities that London offers. The city is ‘a kind of Olympus, of dream of the century/an emission of our youth’, the embodiment of vitality.
Four pictures comment on the poems; they are reminders of fragmented memories, apparently simple things but meaningful for the poet’s search, such as a newspaper clipping, a ticket for a sunbed session and a picture of a TV screen with William and Kate’s wedding showing on it. They are metaphors that help the reader understand and give a sense of deep connection to the author’s new life in London; it is an incessant movement that goes forwards and backwards between Italy and London.
Radi Cor’s poems are skilfully crafted, similarly to the works of major Italian women poets such as Alda Merini and Maria Luisa Spaziani. Her lines express deeply felt emotions in imageries and sounds both in Italian and in the elegant and competent English translations. She recalls memories that shaped her personality in language. It is a shape-shifting identity which is enriched by two cultures and two realities. The reader is involved in this moving and ambivalent reality in which ‘by the Thames […] you sense Venice’ in an illusion of truth.
Carla Scarano D’Antonio 7th January 2022