First Italian version of the absolute collection published by Marina Tsvetaeva eighteen in Moscow in 1910 Evening Album is the debut author of poetry, now proposed by Giuliano LadoIfi publisher in the sensitive, accurate translation of Paola Ferretti (pp.278, € 20.00 Russian text on front): output is a valuable also because it allows the reader to enter in that area if not openly larval, still "far from being established, the blank between hesitations and questions, doubts and 'grievances' (as he writes the same translator in his preface) from which will form the item unique, yet recognizable of the poetess 'ripe'. In fact, if the publication of the first notebooks of notes dated 1919-1921, edited by Voland Pina Napolitano, editorial deservedly broke the silence descended on Marina Tsvetaeva after the Fedra made by Marilena Lea for Pacini in 2011 and the Florentine Nights always re-proposed by Voland the same year in the translation of Serena Vitale, on the other hand to emerge from these pages is a Tsvetaeva prematurely and suffered irreparably 'final', ungraded, two revolutions and countless proofs of existence: the disintegration of the cote upper class of their own childhood the forced separation from her husband Sergei Efion, official filozarista, and the death of his second daughter Irina.
In The Evening Album anything could still happen, and if one part is undeniable that the observation of Ferretti Tsvetaeva here "seems to want to experience the thrill of touching the outset the high notes which will arrive in the mature poetry, to test the consistency of certain propensities issues that make lasting predilections, "at the same time there are reasons equally original that will not result in the work to come. First, the misticadell'infanzia as prophetic age which finds expression in lyrics such as A or Serezo In memory of Nina Dzavacha, where the classical genre dell'epicedio in the death of a child is not so much in the late resolves an untimely death, as in finding appalled by how rude and annoying the adult world, and to what extent are its deadly meddling in the horizon magic of childhood. There is here expressed for the first time the original nucleus of the oppositions on which Tsvetaeva build its conceptual and poetic universe: on the one hand, land with all the charm and the fragility of sensitive, irreversible crystallized in the determinations of the matter; the other frustratezza, embodiment of all spiritual afterlife in which each particular incarnation can not dissolve and wrecked. But if the work matures it will become more urgent the temptation to cross the threshold of life, to sever all ties Earth in a dizzying, impetuous spontaneous combustion, in The Evening Album enhancing its openness to reality: "You may object to the to still immature / the joy of being in the world and those secrets? '. Elsewhere whale already the totemic figure of the Amazon, but just to be weighed and set aside with bravado: "I love women who do not spaurano in battle, / capable of challenging and sword and spear, / but I know: only in the bondage of cot /'ll be my routine - feminine joy, "a strange, eerie earthiness is therefore clear from these verses already warned by the author as provisional, where the geometry of love, no matter how complex, still retain their lightness frivolous and repeated stays at 'with foreign parents are the background to both the longing for the beloved Moscow, as in the formation of a unique personality and restless. A sort of Tsvetaeva before Tsvetaeva, ideal counterpoint to the movements of the darkest Notebooks.
Valentina Parisi
Il Manifesto