Excellent descriptions. Maybe not everybody knows that Fiat is and was the
main Italian industry specifically a car factory with a history on its own,
the inevitable corruption and more hidden within its folds. A pollo Fiat,
from the Latin "fiat lux" becomes ironical already by the title.
Yes, an incredible smart-ass. Tytell doesn't like him much, at least from
the comments of those he quotes.
You are leaving for Bilbao, Bilbao - Spain?
That is quite a trip. Good luck.
On 8/10/07, Stephen Vincent <[log in to unmask]> wrote:
> Thanks Martin and Anny for the Marinetti research/responses. If I was not
on
> a horse track leaving for Bilbao next Friday, I would keyboard an example.
> But here is one from a very good web article from Cabinet Magazine on the
> fascinating history of the Cookbook which caused an uproar among the
> aficionados of pasta and traditional Italian cooking:
> http://www.cabinetmagazine.org/issues/10/anti-pasta.php
>
> ... Most memorable among other Futurist recipes was the carneplastico: a
> synthetic sculptural interpretation of Futurist aeropittura referring to
the
> much-beloved Italian landscape. In honor of the beacon of Italian
industry,
> one could taste the pollo Fiat, a stuffed chicken placed on puffy pillows
of
> whipped cream. On a more pornographic note, one could also have a porco
> eccittato, a cooked salami placed vertically on the plate with coffee
sauce
> mixed with eau de cologne...
>
> For all his craziness - trying to lift Italy into the 20th Century -
> Marinetti was a major imaginative, serious smart-ass. Damien Hurst, the
> English sculptor, is clearly his most antithetical bourgeois heir.
Marinetti
> would have hated him.
>
> Stephen V
> http://stephenvincent.net/blog/
> Currently featuring a new entry on the poet son with the aging, poet Mom.
>
>
>
>
> > I found what I was looking for on John Tytell's *The Solitary Volcano*:
> >
> > "Much of the Futurist program seemed simply hilarious to the English,
but
> > what impressed Pound was Marinetti's technique of art propaganda, the
brash
> > statement and aggressive public stance. Pound saw Marinetti lecture in
> > Bechstein Hall at the time of the Sackville Gallery show and heard him
> > attack the English as snobs and sycophants "enslaved by worm eaten
> > traditions, social conventions and romanticism." Marinetti himself was
as
> > much a spectacle as what he had to say. He wore spats and tailored
suits,
> > wing collars and bow ties, and a turned up mustache that Dali later
> > imitated. He spoke frequently in London from 1912 to 1914, once at a
Soho
> > dinner organized by Lewis, at the Dore Gallery, and in several lecture
> > halls. He would mix his crashing onomatopoetic poem "The Siege of
> > Adrianople" with a torrent of Italian. Jacop Epstein remembered that as
a
> > performer Marinetti used an astonishing amount of energy, and his veins
> > would swell in his head. He would imitate machine-gun fire, the whirr of
> > airplane engines, and the boom of cannon, but the poems were of "a
> > commonplace and banality that was appalling." ...
> >
> > This is enough to answer the question.
> >
> > On a personal note I remember that I was most astounded when I had to
read
> > Marinetti's Manifesto for school when I was round 18, that the same
> > Curricula contemplated such a bestiality, to say the least. Besides
this,
> > some Futurists were exceptional, see Balla, Boccioni, Russolo, Severini
and
> > Crali (one of my favorites) in the visual arts, Sant'Elia in
architecture.
> > Close by in Rovereto they built the brand new Modern and Contemporary
Art
> > Museum to honor the works they had of Depero who was born there. What I
> > think of it? No comment. I still have to justify my position. Well,
Rovereto
> > is a tiniest town, and what can an enormous museum do there? Who travels
all
> > the way to a dislocated town to see some artwork?
> > Depero's work? Within the average, fundamentally nothing special. What
> > survives of the movement are classical statements on human nature,
Balla's
> > and Boccioni's genial intuitions.
> >
> >
> > On 8/10/07, MJ Walker <[log in to unmask]> wrote:
> >>
> >> Stepping out of the lurking shades for a moment, I'd suggest that they
> >> did meet, Stephen. I have none of my Pound biographies here so cannot
> >> check that way, but Canto 72 has the ghost of Marinetti speaking to
> >> Pound (a Dantesque ploy that appears in the *Four Quartets* too - and
> >> Pound then says
> >> "Again that hasty and impatient spirit
> >> Like a messenger who's chafing at delay
> >> And will not stay for business of less merit
> >> Burst in I recognised the voice of Marinetti
> >> Heard long ago in Piazza Adriana//, down by Tiber-side."
> >> - I'm sure Jack Ross won't mind me quoting his translation from the
> >> Italian on his very informative blog *The Imaginary Museum* (I don't
> >> have that new edition of *The Cantos* containing Pound's own long-lost
> >> translation) -
> >> http://mairangibay.blogspot.com/2007/03/poetry-live.html
> >> By the way, I found your RAINTAXI interview fascinating, too - and it
> >> helped me to relate more to the work I've seen on your blog. I had to
> >> laugh, too, reading your quip "I'm not actually that big of a reader" -
> >> I've still not managed to get through Proust myself & admire anyone who
> >> has. It probably helps living in a city like San Francisco where there
> >> are lots of readers.
> >> Best
> >> Martin
> >> Stephen Vincent wrote:
> >>
> >>> I will not talk about Marinetti's then growing fascist politics and
why,
> >>> etc. I wonder if he and Pound ever met.
> >>>
> >>> Stephen V
> >>> Walking Theory is my new book from Junction Press.
> >>> www.junctionpress.com
> >>>
> >>>
> >>>
> >>
> >> --
> >> Ne'er fash your thumb what gods decree
> >> To be the weird of you or me.
> >>
> >> Robert Fergusson
> >>
>
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