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This edition contains, alongside the standard introduction by the series editors, a volume editor's introduction, fullnotes, and appendices thatwill provide a useful ap paratus for future scholars ofBattiferra's ceuvre inmanuscript and print. Kirkham's translations are careful and sensitive, and theparallel textallows the reader of Italian togain a fullsense of thepoet's finely wrought style in theoriginal texts.Crucially, the volume draws attention to the real literaryvalue ofBattiferra's work and also redirects attention to a period in Italian literaryhistory thathas too easily been assigned to a cultural backwater. ST CATHARINE'S COLLEGE, CAMBRIDGE ABIGAIL BRUNDIN Italian Futurist Poetry. Ed. and trans. by WILLARD BOHN. Toronto, Buffalo, and London: University of Toronto Press. 2005. vii+310 PP. ?40 (pbk z20). ISBN 978-o-8020-3948-4 (pbk 978-o-8020-3783-I). When Marinetti launched Futurism in I909, identifyinghis movement with twen tieth-century dynamism, his preferred poetic form, freeverse, was not, inEuropean terms,an innovation. Only in I9 I2,when theTechnical Manifesto ofFuturist Litera tureannounced the freeingofwords fromsyntax itself,and theconsequent creation of chains of images linked only by a 'wire-less' imagination, could themovement claim tobe in the forefrontof avant-garde literary technique. Despite Futurism's influence on subsequent avant-gardes, and thewidely recog nized importance of itspainting and sculpture, Futurist free-word poetry isnot well known outside Italian studies.Willard Bohn, who has published extensively on sub jects including visual poetry and Futurist aeropoesia, seeks to remedy this situation with this copious new anthology accompanied by English translations. Just over a hundred poems (or extracts from poems) are included, drawn from Futurist anthologies, individual volumes, and themost famous Futurist periodicals. Arranged in sections, roughly according to themovement's development, they re present some thirtyyears of activity. Perhaps surprisingly, the section onMarinetti himself contains only twopieces-an extract from the text illustrating free-word tech nique in the supplement to theTechnical Manifesto, and an aeropoema from I939. The absence, for instance, ofwork fromZang- Tumb- Tuuum (I 914), arguably the la boratory ofparole in liberta', may reflect thedesire to include lesser-known texts.The poets included in I poeti futuristi (I 9 12) and I nuovi poeti futuristi (I 925) are amply represented-often, usefully, by poems not taken from these anthologies. In between comes a limited selection fromLacerba, Italia Futurista, and otherworks fromaround thewar years-the very productive, boldly experimental period of cross-fertilization between painters and writers. The finalhundred pages are devoted to lesser-known works from the I930s and I940S. Although visually and typographically innovativeworks formonly a small propor tionof thevolume, theanthology successfully illustratesBohn' sstatement thatFutur ist themeswere not restricted to 'modernmachinery, warfare, and theFascist dream' (p. 9). As well as poems on transatlantic liners, aircrafthangars, and skyscrapers, the MLR, I03.2, 2oo8 56I fascination of urban night lifeand the effectsof artificial light (subjects explored in various Futurist paintings) are often vividly evoked. Poems such as Dessy's 'Stato d'animo', Jannelli's 'L'arcobaleno dei miei sensi', and Pocarini's 'Cocaina' illustrate explorations of inner perceptions. Marchesi's 'La guerra' and 'Ho visto lamorte' of ferstrikinglydifferentviews ofwar fromFuturism's typical glorification of violence. Inventive wit is displayed in poems such as Dinamo Correnti's 'Gomma da lapis', where the eraser embodies the self-righteous hypocrisy of the 'gente per bene' who stifleoriginality. Translating Futurist experimental writing poses particular challenges, most of which are successfully met here. The infinitivesprescribed byMarinetti to escape restrictions of time and subjectivity are effectively rendered, usually by present par ticiples; and the imaginative links between nouns (often not clarified by syntax or punctuation) can...</div><div></div><div> df19127ead</div>