Poem commented by Davide Rondoni, who unveils the secrets and meanings...
Italian edition of the Old Testament's Ecclesiastes. New translation...
Collection of 57 poems and short texts in prose. French edition. Rosnay...
Limited and numbered print-run of 18 copies on on laid paper made in Sicily.
Besides these copies, there are other copies for sell on this website, which have been printed on Magnani and Sicilian papers, for a total printrun of 300 copies. All the different editions are listed below.
Collection of 130 poems.
Edited and prefaced by Barbara Lanati.
Volume in 8vo format (cm17,5x27) of 180pages entirely typeset by hand in Italic Tallone type, designed by Alberto Tallone, cut by Charles Malin in Paris and cast by Radiguer. The introductory study by Professor Barbara Lanati has been set by hand in 9 and 10-point Garamond, cut on steel punches by Henri Parmentier in 1914 and cast by Deberny.
“To forget”, “to escape”, “to miss”: Emily Dickinson (1830-1886) adjusted her life to the semantic areas and synonyms related to these very verbs, or rather she chose to cope with them. Apparently they haunted her imagination and imagery, hence the choice of the poems collected in this selection.
Most of them, although not all of them, as she was highly unpredictable in both her public and personal life, not to mention in her writings, distant as they were from any contemporary school of poetry, either Romantic or Transcendental, she was acquainted with but decided to ignore. Jeune fille bien rangée, she was brought up in a well-off milieu, but like a thief (inspired by Browning’s dramatic personae, she adored to wear a mask) she would sneak books and magazines from her father’s library. She had knowledge of the Civil War, of the Gold Rush, of English poetical diction, of Physics and Medicine, but she was in love with words and the imagery she borrowed from Shakespeare, the Bible, and Seventeenth Century Metaphysical Poetry.
So she shaped a world nobody could break into, a world of words that were “precious” to her, and certainly a world of poems and letters (as no diary was found). A world where the apparently fragile girl and then woman was —daring choice at the time—coming to terms with the very concept of identity: her own identity. Silent and proud. Ironic, self-ironic and aggressive (like a loaded gun as one of her poems underlines) in opposition to the fake, ambiguous middle class that surrounded her and that was not able (never, I suspect, with the exception of Walt Whitman) to grasp, as she did, the modern notion of solitude and split identity: […] Explore thyself! / Therein thyself shalt find / The “Undiscovered Continent” — / no Settler had the Mind (832).
It took decades for her country, and the rest of the world, to discover her. Before modern poetry (and Freud) realized what she did not know she knew, but she knew.
The volume is housed in a hand-made slipcase and box, custom made to an exact size, whose exteriors are covered with parchment made in Scotland and Ingres paper. The book title is letterpress-printed on the slipcase’s parchment spine.
This is a copy printed on laid paper made in Sicily.
Moreover, for a total print run of 300 copies, this book comes in the following editions:
- 40 copies on off-white wove Magnani paper which include a lithograph print by Giulio Paolini, expressly made for this book, signed and numbered. The Artist signed the book as well (for sale on this website);
- 218 copies on off-white wove Magnani paper, made of pure cotton in Pescia, Tuscany (for sale on this website);
- 18 copies printed on laid paper made in Sicily (for sale here);
- 6 copies on Magnani paper, hand-made in the 1950s (for sale on this website);
- 2 copies on pure-cotton light-blue paper, made exclusively for Tallone Press in Sicily (images and prices on request);
- only copies on light-grey Magnani ancient paper (for sale on this website);prices and details on request).