Reviewing 'Sicilian Sex Ghosts,' a lecture by Dr. Paul Koudounaris at Morbid Anatomy Library

'Sicilian Sex Ghosts' at Morbid Anatomy Library

Photos by New York Scugnizzo

By Lucian

Recently we advertised a lecture at the Morbid Anatomy Library (543 Union St., Brooklyn, NY) by Dr. Paul Koudounaris entitled “Sicilian Sex Ghosts.” The December 11th event appeared related to Southern Italian folklore and the Cult of the Dead, so we thought it might be of interest to some of our readers.

Then on Dec. 4, 2012, in an interview with brooklynpaper.com, Dr. Koudounaris was quoted as saying that everything in Sicilian society was “permeated with sex and violence” and that the stories he retells were a reflection of that. This upset some people, even though from the context it wasn’t clear if he meant now or centuries ago. The ghost story that was mentioned before the quote was used as a warning against certain sexual acts, so my first thought after reading it was that if sexual repression is considered as obsessive as sexual glorification then you could say that about almost any ethnic or demographic group. Since I was planning on attending the lecture anyway, I wanted to meet the speaker in person to hear what he had to say.

The venue was interesting; I'd never been to the Morbid Anatomy Library before. The room filled and soon it was standing room only. I watched and listened to Dr. Koudounaris as he interacted with others before the event and did not get the impression that he was a particularly bad fellow. I can't remember his exact words, but early on he stated that the Sicilians were a passionate people and that this was reflected in their culture and legends. When put that way it didn't sound hostile or nasty in any way. Dr. Koudounaris was eccentric but easy going. He wasn't exactly politically correct, which was fine with me, but he wasn't looking to offend anyone either. Satisfied with this, I gave him the benefit of the doubt and relaxed and enjoyed the lecture.

Dr. Paul Koudounaris

What drew me there in the first place was that the stories were focused on the remains in the crypt of the Monastery of Santa Maria Della Pace in Palermo, Sicily. I had previously written about the Neapolitan Cult of the Dead, and know that their ideas and practices are more widespread. I thought it possible that, through the lecture, I might find out more about Sicilian variations of that practice. What I found was indeed related, but came from a different direction. Dr. Koudounaris' PhD is in Art History (UCLA), and this needs to be remembered if you acquire a copy of his book Empire of Death: A Cultural History of Ossuaries and Charnel Houses, which contains his photographs from similar locations around the world. It is very good and was created from an artist's perspective, not solely a spiritual or anthropological one. His lecture included a slideshow of some of his photos; they were excellent.

At the beginning of the lecture Dr. Koudounaris stated that the Sicilians do not call them "sex ghosts," that is just a term that he uses for them. There are other ghost stories in Sicily but for his lecture he focused mostly on those with a sexual nature that were connected to the remains. It's actually a good thing that he stated they were sex ghosts because the stories were very descriptive and not entirely suitable for all audiences. However, they were very entertaining and I could imagine hearing them from the Sicilians that he heard them from, in language that was casual and spoken among friends. I would not have invited my mother, but if she were there she probably would have found it amusing, and laughed at my discomfort over her presence.

In the stories I could see some of the parallels to the way Southern Italians have culturally viewed and cared for the dead. The themes of retribution, bargaining and family bonds are evident. In one story the wayward ghost's widow was enlisted to control him, because he wouldn't listen to anyone else. I will not recite the stories because they would be difficult to verify, especially on short notice, and because I feel that Dr. Koudounaris has put in the time and effort to gather them from Sicily, so he should be the one to tell them.

A question and answer period followed the lecture and was interesting in its own right. Someone asked him about the position of the Catholic Church in connection to the stories, which described a rather strange exorcism, and I got the impression they might be fishing for something negative. Dr. Koudounaris replied that the Church does not officially promote the regional differences in worship or practices concerning the dead, but sometimes goes along with it to appease the faith of the locals. His answer seemed to reflect my own research pretty well, although there are occasional pushes to conform the flock that are usually resisted or ignored.

Dr. Koudounaris has traveled the world to gather material for his book Empire of Death, so he must have come across more than a few stories about his chosen topic. I brought this up and asked why he chose Sicily for his lecture. His response was the abundance of material. I'm not sure if it was because Sicilians had more stories or because they were more willing to talk about them.

Food and drink were available after the lecture and the people were friendly and interesting, but we had little time to linger. Overall I was happy with the way the evening turned out. Every culture has darker aspects, so while his stories were not for the squeamish I would still welcome the opportunity to hear more of them.

Celebrating Southern Italian Art at the Met

The Metropolitan Museum of Art's 

Annual Angel Tree and Neapolitan crèche installation 

Photos by New York Scugnizzo

By Giovanni di Napoli

With the bulk of my Christmas shopping already done, I took the opportunity to enjoy some free time by visiting the Metropolitan Museum of Art. As always, I wanted to see the museum's Annual Angel Tree and Neapolitan Crèche installation. It is without a doubt one of my favorite holiday pastimes.

A detail of the presepio

Prominently displayed in the Medieval Sculpture Hall (Gallery 305), before the wrought-iron choir screen from the Cathedral of Valladolid, the towering blue spruce is adorned with over 50 angels dating from the 18th century. Circling the base is an elaborate Nativity scene featuring an array of realistic and diverse characters by some of Naples' finest Baroque sculptors, including Giuseppe Sanmartino, Salvatore di Franco and Giuseppe Gori. I was happy to learn that pictures of the tree and crèche are finally allowed.

Ivory Oliphants 

Not far from the tree, in the Medieval Europe Gallery (304), is a small collection of ivories and stone sculpture fragments from Southern Italy. Gallery highlights include two 12th century oliphants and an ivory writing box with copper alloy mounts from Amalfi.

Ivory writing box

Beneath the showcase stands an amazing stone relief panel with lion family from Campania. The slab is believed to have been part of a Roman sarcophagus and recarved in the early Middle Ages (ca. 800-1000). What really makes this piece so interesting is the lioness and nursing cub. During this period, lions were often used to symbolize Christ so it's extraordinary to find one depicted with a family.

Relief panel with lion family

Before moving on to the Bernini: Sculpting in Clay exhibit (Galleries 964-965), I stopped by the Robert Lehman Atrium to see the Renaissance maiolica (Gallery 950). The museum has a fantastic selection of apothecary jars and vases from Naples and Castelli, a small town in Abruzzo famous for its painted ceramics. I especially liked the 15th century pharmacy vase from Castelli depicting Apollo and Daphne in period garb.

15th century maiolica vase with Apollo and Daphne

Earlier this year I discovered two Southern Italian paintings I was unfamiliar with in Lehman galleries: The Adoration of the Magi attributed to the Neapolitan School and Saints John the Evangelist and Mary Magdalene by Roberto d'Oderisio. To my surprise I stumbled upon another. While admiring Botticelli's Annunciation I glanced to my right and noticed The Virgin Annunciate by Andrea Delitio (active ca. 1440-80), one of Abruzzo's great Renaissance painters. My photo does this exquisite piece no justice.

The Virgin Annunciate by Andrea Delitio

(Tempera on wood with gold ground)

After a lite lunch, I decided to visit the Arms and Armor Department, which is currently celebrating its centennial. Normally I like to look at the Medieval and Renaissance armor and weapons, but this day I spent most of my time in the European Hunting and Sporting Weapons Gallery (375).

A pair of flintlock pistols made for Ferdinand IV, King of Naples and Sicily

While looking at the impressive assortment of ornate firearms I was excited to see a pair of flintlock pistols made for King Ferdinand IV of Naples and Sicily. Produced in the Royal Arms Manufactory at Torre Annunziata, the pistols are believed to commemorate the royal wedding with Maria Carolina of Austria in 1768. Emanuel Esteva and Michele Battista, two leading gun makers from Spain working at the factory, made the weapons.

Close-up of the pistol shows portrait of King Ferdinand IV

Making my way through the various galleries of the European Sculpture and Decorative Arts Department, I stopped by the Italian Eighteenth-Century Decorative Arts Gallery (508) to see the Museum's superb collection of porcelain. Among my favorites was a hard-paste porcelain sculpture of Hercules Resting from His Labors. Produced at the Royal Porcelain Manufactory in Capodimonte, Naples, ca. 1765-70, the work shows an exhausted hero relaxing against his club. I find it amusing that such a rough and powerful character is portrayed in such a delicate medium.

Hercules Resting from His Labors

An assortment of works related to Southern Italy can be found in the Italian Baroque Sculpture and Decorative Arts Gallery (550). On display are clay model statues of Saints Peter and Andrew by Giuseppe Picano and Saint Vincent Ferrer by Giuseppe Sanmartino. There are also small silver statuettes of Saint Felicity and The Blessed Catherine after originals by the preeminent Palermitan stuccoist Giacomo Serpotta (1656-1732) and a silver statue of Saint Michael from Naples, probably by Gaetano Fumo (active 1737-59). However, what really caught my eye was an elegant gilt bronze and silver statue of Virgin of the Immaculate Conception after a model by the celebrated Neapolitan sculptor Lorenzo Vaccaro (1653-1706).

(L-R) Saint Michael by Gaetano Fumo; statuettes of Saint Felicity and The Blessed Catherine after Giacomo Serpotta; and Virgin of the Immaculate Conception after model by Lorenzo Vaccaro

Whenever I visit the Met I make it a point to explore the museum's famed collection of European paintings on the second floor. I always discover something new and this time was no different. The recently acquired painting of Medea Rejuvenating Aeson by Corrado Giaquinto is now on view in Gallery 822. Inspired by Ovid's Metamorphoses, the painting depicts the enchantress Medea rejuvenating her ailing father-in-law, Aeson. Pluto, "the shadowy king," and his "stolen bride," Proserpina, look on as Medea performs her sacrificial rite to appease Hecate and Youth.

Medea Rejuvenating Aeson by Corrado Giaquinto

An inscription on the back of the canvas identifies this fascinating painting as a model for a tapestry. In 1753 Giaquinto was appointed First Painter and head of the Royal tapestry factory, Real Fábrica de Tapices de Santa Bárbara, in Madrid by King Ferdinand VI of Spain. He served until 1762, when he returned to Naples. Unfortunately, the tapestry was never produced.

Needless to say, my day at the Met was very rewarding and full of some wonderful surprises. I never tire of seeing so many magnificent works of art. For me these folk-oriented excursions (along with lectures, concerts, Feasts, etc.) serve to pass on our traditions. For those of us concerned with maintaining and developing our heritage it's our duty to support these invaluable institutions.

* * *

The incredible Bernini: Sculpting in Clay exhibit (Galleries 964-965) will run through January 6, 2013.

Feast of Sant'Agnello di Napoli

Sant'Agnello di Napoli, ora pro nobis

December 14th is the Feast of Sant'Agnello di Napoli, miracle worker and patron of Naples. Born in 535, it is said his parents, Giovanna and Federico, were nobles from Siracusa, Sicily, and (according to some) distantly related to Santa Lucia. Having great difficulty conceiving a child the couple invoked the Madonna on the heights of Caponapoli, the site of the city's ancient acropolis. Grateful for granting their petition, the joyous parents fulfilled their votive promise and founded the Chiesa di Santa Maria Intercede at the location of the blessing. 

According to legend, Sant'Agnello was only 20-days-old when he first spoke; saying "Hail Mary" before a statue of the Blessed Mother. At the age of fifteen he chose the ascetic life of a hermit, living for several years in solitude, praying and meditating. During this period, he may have visited Guarcino in Lazio and the Sanctuary of Monte Sant'Angelo, an important destination for pilgrims in the Gargano region of Apulia. 

Drawn to his great reputation for holiness, exiled monks from Abitina persuaded Sant'Agnello to become their abbot at the monastery of San Gaudioso in Naples. With his inheritance he built a hospital, gave alms to the poor and worked tirelessly with the needy. His hagiography is replete with stories of healing miracles, as well as punishments meted out to those who are blasphemous and negligent with their veneration.

Sant'Agnello died on December 14, 596. His relics were enshrined in the Chiesa di Sant'Agnello Maggiore Caponapoli, formally Santa Maria Intercede, which was renamed in his honor. Seriously damaged by indiscriminate Allied bombings during WWII, the church finally reopened in 2011 after a long restoration. Fragments of the original Greek temple were unearthed and are now on display. Sadly, all that remains of the former church is the high altar, a Renaissance masterpiece by Girolamo Santacroce of Nola. 

One of the early co-patrons of Naples, Sant'Agnello's cult spread beyond the city and its environs to the neighboring areas of Sorrento, Frosinone and the Cilento, most notably the towns of Pisciotta and Rodio. During the High Middle Ages the Tuscan city of Lucca claimed him as one of their patrons and believe the Saint's body was translated to the Duomo di San Martino. Controversy surrounds its authenticity as both Lucca and the Duomo di San Gennaro in Naples claim to be in possession of his relics. In modern times his devotion was brought to the New World by Neapolitan immigrants.  

Sant'Agnello is typically depicted bearing the banner of the Cross in his right hand and the Holy Scriptures in his left. These emblems, symbolizing faith, redemption and truth, also represent his patronage of Naples and his protection against invaders. During the Longobard Siege of Naples in 581 he appeared before the Neapolitans, banner blazoning, giving them the fortitude to drive off the attackers. The Neapolitan victory was attributed to the Saint's intercession. The feat was repeated in 674 when Saracen raiders were put to flight after his apparition raised the standard of the cross.

In celebration, I'm posting a prayer to Sant'Agnello di Napoli. The accompanying photo, courtesy of Andrew Portelli, was taken at St. Lucy's Church in Scranton, Pennsylvania. Evviva Sant'Agnello di Napoli!

~ Giovanni di Napoli, December 13th, Feast of Santa Lucia

Prayer to Sant'Agnello di Napoli

Grant, we beseech Thee, almighty God, that the examples of Sant'Agnello di Napoli may effectually move us to reform our lives; that while we celebrate his festival, we may also imitate his actions. Look upon our weakness, almighty God, and since the burden of our own deeds weighs heavily upon us, may the glorious intercession of Sant'Agnello protect us. Through Christ our Lord. Amen.

A Night of Poetry at Cornelia Street Café

Maria Terrone reading to a full house

By Giovanni di Napoli

Last night I had the great pleasure of attending a poetry reading at Cornelia Street Café, an intimate venue in the heart of Greenwich Village known for its poetry and musical performances. The featured poets were George Held, Maria Terrone and Romanian born Claudia Serea.

First up was George Held, who did an excellent job as master of ceremonies. He read several pieces of poetry, including some excerpts from his wonderful children's picture book Neighbors: The Yard Critters, Book 1. We even got a taste of the upcoming sequel Neighbors too. I especially enjoyed "The Large Blue Sonnet," which is influenced by the notebooks of Wallace Stevens.

Maria Terrone followed with several poems from her award winning collections, The Bodies We Were Loaned and A Secret Room in Fall. I was looking forward to hearing her read again, and was especially delighted by a new poem that she dedicated to the Iranian writer Mohsen Fathizade, who translated her works into Farsi. As always, Maria's intriguing poetry touched on a variety subjects, both past and present. She also recited one of my favorites, "Blood Oranges," in homage to her Sicilian heritage.

Closing the evening was the highly prolific and extremely talented Claudia Serea. Ms. Serea read some very touching and powerful poems from her new chapbook The System. Inspired by her father's horrific experiences as a political prisoner in Communist Romania, the poems evoked the nightmare of living under totalitarian oppression. She also read some moving passages from her Angels & Beasts and unpublished works. 

I apologize for not having better a photo.

Blood Oranges

Provenance: Sicily

Two nails deftly applied to skin expose
an interior life not red–
though that would shock enough–but red
blackened by the color of blood spilled
and dried in history’s shadow.

You would expect a thousand years
of conquest to produce a bitter
taste. Then how can this sweetness
be? Beware of strangers,
my mother warned, joined

by her parents’ blood to a sun-blinded isle
of secrets. Never trust appearances.
The Sirens were enchanting,
bird legs and claws hidden
behind long hair that blew glorious

as their song over the Straits of Messina.
Sometimes, when fierce currents
force up the deepest dwellers,
their phosphorescence makes the sea
a silver lure to ensnare unwary

travelers–one more Fata Morgana
in a place that loves mirage. So what to make
of these gifts concealed in twisted
tissue? As someone before me has said,
Beware the fruit of your darkest wishes.

Santa Trofimena, from Minori to New Haven

Santa Trofimena, New Haven, Connecticut

Photos by New York Scugnizzo

By Giovanni di Napoli

During my travels in Campania I was fortunate enough to visit Minori, a beautiful little seaside town nestled among the crags of the Amalfi Coast. Formerly an arsenal for the Amalfi Maritime Republic, Minori's history harks back to Roman times. In fact, one of the town's main attractions is the Villa Romana archeological site, dating from the 1st century AD. My stay was brief (just a short pit stop between Positano and Vietri sul Mare), but the excursion aroused my curiosity and left me wanting more.  

Minori's beautiful Basilica Santa Trofimena

Upon my return to the States, I researched many of the marvelous things I discovered on my trip and, of course, Minori's beautiful Basilica was one of them. Originally a pagan temple it was consecrated and used as a burial chapel for Santa Trofimena's relics. By the end of the 18th century the church and its adjacent bell tower were completely remodeled in the neoclassical style.

Minori's neoclassical bell tower

Interestingly, while digging for information, I kept finding references to a statue of the Saint in New York City. While no locations were mentioned, I'm sure they meant the one housed in The Shrine Church of Our Lady of Mount Carmel in Williamsburg, Brooklyn. However, I think some people will be surprised to learn that there is another statue of Santa Trofimena [photo top] at historic Saint Michael's Church (29 Wooster Place) in New Haven, Connecticut. 

Santa Trofimena monument, Minori

Long overdue for a trip to New Haven, my friends and I finally made a pilgrimage to see the beautiful statue last Sunday. What was supposed to be a simple act of devotion in her honor turned into a spiritually edifying and culturally rewarding day. 

Santa Trofimena, Williamsburg, Brooklyn

Before Mass we were fortunate enough to meet some members of the Saint Andrew Apostle Society who were attending the memorial service for their deceased members. A local confraternity founded in 1900 by immigrants from Amalfi, the Society does a wonderful job keeping our traditions and folkways alive. Each year, they organize several cultural events, including the annual blessing of the boats and the Procession and Feast of Saint Andrew. They deserve our support and praise.

Saint Michael's Church, New Haven, Connecticut

Warmly welcomed, they generously answered all our questions and showed us around the beautiful church. In addition to Santa Trofimena, Saint Michael's is home to several other magnificent works of sacred art, including statues of Saint Andrew and San Liberato, protector of Calvisi. 

Saint Andrew, Patron of Amalfi, Saint Michael's Church

After Mass they gave us some excellent tips on what to see and do in Wooster Square, the predominantly Southern Italian neighborhood named after Revolutionary War Hero David Wooster. We strolled through serene Wooster Square Park, contemplating the monuments dedicated to the men of the 11th Ward who lost their lives during WWII. From the park we made our way through the neighborhood and beyond, admiring the charming local architecture, historical landmarks and New Haven Green. We even passed by Yale University. 

San Liberato, Saint Michael's Church

Still a little too early for lunch, we decided to visit the very impressive Knights of Columbus Museum at 1 State Street. The museum's long-term and permanent collections include comprehensive galleries highlighting the exploits of Cristoforo Colombo, the Vatican, the Knights and its founder Michael J. McGivney.

Wooster Square Park WWII Monuments

The Museum is currently hosting its eighth annual Christmas crèche exhibition, "Joyeux Noël: Christmas in Canada." Among the many wonderful nativity scenes on display are several exquisite pieces by Calabrian born sculptor Antonio Caruso. Looking at the highly expressive and delicate carvings it’s not difficult to see why Caruso is considered one of Canada's finest living artists. His Madonna with Child carved from cirmolo pine and Holy Family fashioned from tiglio pine are superb. 

(L-R) Holy Family and Madonna with Child by Antonio Caruso

Equally impressive was Angela Tripi's 12-peace presepio. Ornate and finely detailed, her beautiful statuettes blend reality with idealism. Born in Sicily, Ms. Tripi's polychrome terra cotta figures are accentuated with fabric and accessories, evoking the old techniques of the Sicilian baroque master Giovanni Antonio Matera.

"Joyeux Noël: Christmas in Canada" will run through February 3, 2013.

Crèche by Angela Tripi

Thoroughly famished, we made our way to Frank Peppe's famous Pizzeria Napoletana. My friends and I knew we were in the right spot when we saw the long line of people waiting to get in. Since we had not eaten at Peppe's before, we resisted the temptation to skip the queue. The anticipation of a great meal and sharing pizza anecdotes with fellow aficionados became part of the dining experience. 

Frank Peppe Pizzeria Napoletana

Specializing in the white clam pie—a medley of grated cheese, garlic and fresh littleneck clams—Peppe's signature dish was totally worth the wait. In my opinion, New Haven style brick-oven pizza, with its thin crust and fresh ingredients, stayed true to it's roots and is much closer to authentic Neapolitan pizza than the traditional New York style [not to be confused with all the great new Neapolitan pizzerias opening up around the Big Apple]. Originating from Maiori, its not surprising Peppe's brought back so many wonderful memories of the pizza I enjoyed up and down the Amalfi Coast.

Frank Peppe's famous white clam apizza

Afterward, we took a relaxing stroll and further explored this wonderful enclave. We came across the Saint Andrew Society and Santa Maria Maddalena Society buildings, fantastic historical markers and memorials commemorating the Southern Italian contributions to Wooster Square, and, most importantly, we met some very friendly and helpful people who made our visit a memorable one.

(L-R) Statue of Saint Mary Magdalene on Wooster Street

and monument dedicated to the deceased members

of Saint Andrew Society on Chapel Street.

Before our departure, we indulged our sweet tooth a little at Libby's Pastries, a New Haven institution since 1922. The scalding hot caffe and delicious Anginette cookies—a lemon glazed masterpiece reminiscent of the sugary biscuits I had in Minori—was the grand finale to our jam-packed day. We weren't even finished with our dessert and we were already planning our return. 

Santa Trofimena surely was smiling down on us.

Historic markers at Chapel and Chestnut Streets

Antonio Caruso Featured at Knights of Columbus Museum's 'Joyeux Noël: Christmas in Canada'

Nativity: (L-R) Shepherd with Sheep and Fruit (tiglio pine),

Holy Family (tiglio pine), Shepherd with Sheep (cirmolo pine)

and Young Boy With Camel (tiglio pine)

Last Sunday while in New Haven, Connecticut we stopped by the Knights of Columbus Museum (One State Street, New Haven, CT 06511), and to our surprise saw several exquisite pieces by Calabrian born artist Antonio Caruso in their current exhibit 'Joyeux Noël: Christmas in Canada.'

Antonio Caruso is considered by many to be one of the leading artists in Canada. He is a painter as well as a sculptor and his art was selected by the Canadian Post for a series of Christmas postage stamps. He is also the creator of the innovative art technique called frescografia.

'Joyeux Noël: Christmas in Canada' will run through February 3, 2013.

(L-R) Shepherd with Sheep and Fruit (tiglio pine)

and Shepherd with Sheep (cirmolo pine)

(L-R)  Madonna Carving in Progress (cirmolo Pine), Baby Jesus (tiglio pine) and Madonna and Child (cirmolo pine and colored ivory white)

Nativity: 25 hand carved figures made from tiglio pine 

(L-R) Pifferari and zampognari (tiglio pine) 

(L-R) Shepherd and Contadini (tiglio pine)

(Photos by New York Scugnizzo)

New Books

Some forthcoming titles that may be of interest to our readers. Both are available for pre-order at Amazon.com

• Sicily: Art and Invention between Greece and Rome

Publisher: J. Paul Getty Museum

Publication Date: April 23, 2013

Hardback: $48.35

Language: English

Pages: 288

Read description

• The Letters of Salvator Rosa (Studies in Baroque Art) by Alexandra Hoare

Publisher: Harvey Miller Pub

Publication Date: December 15, 2012

Hardback: $145.00

Language: English

Pages: 375

Read description

Click here to see more books

December by Michele Sovente

Photo by New York Scugnizzo

Reprinted from Dialect Poetry of Southern Italy: Texts and Criticism (A Trilingual Anthology) edited by Luigi Bonaffini, Legas, 1997, p.275.

Dicembre

Cora caruta ammiezo

'i ffoglie 'i dicembre

quanno addisegna 'u cielo

vie storte senza na ràreca.

Chello ca nun se rice

s' 'u pporta nu camje

ca 'ncoppa 'i pprete s' appenne.

Acqua moppeta rinto

'i ssajttelle, cu ttanta streppuni

e rrote carute, 'a faccia

'i ll' acqua nisciuno 'a sape.

'I ffoglie a dicembre addiventano

serpienti e liuni

(Inedita)

December

A tail fallen among

December leaves

when the sky draws

crooked roads leading nowhere.

What isn't said

is taken away by a truck

scrambling up stony paths.

Water swirling

in the cesspits, with so many cores

and tires fallen in, no one

knows the face of the water.

The leaves in December become

snakes and lions.

(Translated by Luigi Bonaffini)