Insciaqquà by Giorgio Forattini

By Giorgio Forattini

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Her meat though more delicate in fiber is of a kind with that of Villon and La Grosse Margot: Vente, gresle, gelle, j’ai mon pain cuit! Carl Sandburg sings a Negro cotton picker’s song of the boll weevil. Verse after verse tells what they would do to the insect. They propose to place it in the sand, in hot ashes, in the river, and other unlikely places but the boll weevil’s refrain is always: “That’ll be ma HOME! ” My mother is given over to frequent periods of great depression being as I believe by nature the most light-hearted thing in the world.

His appetite for art was gargantuan. He consumed music, drama, painting, literature as if they were food. He visited France and Switzerland briefly. Through friends he had lines out to dadaism, surrealism, furturism, objectivism, imagism, cubism, cacophonous music. These convulsions of aesthetics caught Williams at a crucial time—his late 30’s and early 40’s—and he was struggling between discontent and assertion, self-examination and self-discovery. He was put down by poets who counted—Eliot, Stevens, Hilda Doolittle, even his old college pal Ezra Pound.

Carl Sandburg sings a Negro cotton picker’s song of the boll weevil. Verse after verse tells what they would do to the insect. They propose to place it in the sand, in hot ashes, in the river, and other unlikely places but the boll weevil’s refrain is always: “That’ll be ma HOME! ” My mother is given over to frequent periods of great depression being as I believe by nature the most light-hearted thing in the world. But there comes a grotesque turn to her talk, a macabre anecdote concerning some dream, a passionate statement about death, which elevates her mood without marring it, sometimes in a most startling way.

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