Ritorno alla terra (Miscellanea) (Italian Edition)

Thanks to Cilli's research, a document previously unknown in Tolkien studies,The Educational Value of Esperanto, signed by Tolkien alongside other eminent British academics of the time, is included. A contribution from Tim Owen of the Esperanto Association of Britain enriches the book, which adds biographical details about Tolkien and his interest in languages, and adds insight into how he build his Legendarium, by providing the context of Esperanto at the time that Tolkien knew it.

The Preface is entrusted to John Garth, one of the most important scholars of the life and works of J. Tolkien and author of the books Tolkien and the Great War: Wynne and Arden R. Tolkien and the British Esperantist Movement. He is the curator of a series of studies on the life and works of J. Tolkien in the context of his times. Tolkien and the Great War , his biographical study exploring the invention of Middle-earth against the backdrop of the First World War, won the Mythopoeic Award for Scholarship.

He read English at Oxford and went on to become a journalist, working for many years on the London Evening Standard. And nearly thirty years after speeding through that now long-lost, five-part encyclopedia, he still thinks Esperanto is a really good idea.

In both media, I will suggest, it is possible to discern a memory of the Shoah but, at least in the examples which I explore here, the mnemonic imprint does not imply the equivalence or even repetition of human catastrophe; it is more to do with the aesthetics and politics of dehumanization and resistance. Since the late s, migration to Italy has been of significant concern to successive Italian governments. The ways in which this concern has been expressed have remained remarkably consistent. This consistency defies fluctuations in number, legal status, country of origin, mode of arrival, and many other variables.

In both adjectival and nominative forms, it was the term most frequently used in the press from the late s onwards to designate people who had migrated to Italy without the requisite documents to enter or stay in the country. Arguably, it represented an act of resignification in a discourse that presented migrants to Italy as a national threat. Indeed, not all uses of the term are equally prejudicial, yet neither are they ever neutral. We are invited to read the man who remains unnamed as a survivor of the journey across the Mediterranean. The image seems resolutely contemporary, but the accompanying text suggests a historical parallel.

The reference to Levi invokes a sense of the migrants beleaguered, yet abiding, humanity, and the risks of denying that humanity to both him and the reader. A triangular circuit of empathy is set up through which the Catholic reader is invited to understand what to make of the migratory experience. What is particularly interesting is how text and image enter into a reinforcing rhetorical knot, a complex metonymic figure of historical transfer.

This symbolic capital is even more evident with the title of his final work, The Drowned and the Saved [ I sommersi e i salvati ], recurrently used to refer to those who drown in the Mediterranean or indeed survive the crossing. Who actually added the annotations to the texts is not known, but the editors of the volume quite reasonably assume that they offer some insight into the experience of the journey itself; indeed the annotations are seen as a kind of indirect testimony.

In his wide-ranging introductory essay, Francesco Montenegro, Archbishop of Agrigento, makes specific comparisons to the Jewish exodus from Egypt. What is significant here is not the deployment of each term or reference in isolation, but rather the combined result of their proximity. The scale of the disaster intensified interest across the political and social spectrum, and significantly, led to a greater preoccupation with issues of representation and commemoration.

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The island of Lampedusa is formally part of the region of Sicily, although it is closer to Africa, only 70 miles off the coast of Tunisia. The countries of origin of those crossing the Mediterranean have varied in the twenty-five or so years since migration has become a palpably mass experience. While many boats have taken their passengers directly to Lampedusa, more have been directed there by coastal patrols. A migrant holding center based on the island has changed in status and function over the years according to the number of people disembarking on the island.

Whoever survives the crossing is usually transported quickly to Sicily or the mainland; typically, there is little contact between the islanders and the migrants. With a permanent population of a little more than 6,, Lampedusa has had to accommodate a huge array of governmental and non-governmental agencies whose presence on the island has created tensions over scarce resources. Concern for those who survive the crossing has always been mixed with a sense of grief for the dead and missing. The availability of these representations does not necessarily ensure their preservation nor guarantee their veracity even beyond the usual vagaries of subjective recall.

Liberal distribution of images and texts complicates questions about the possession of memory, and also about who might legitimately claim to be affected by the pressures of the past. The processes of subjective identification may lay claim to, and in turn be moulded by, events which have not been experienced directly. I also want to prioritize three aspects of his analysis which seem particularly helpful:. An abiding interest in the narrative form of multidirectional memory: Constellations of multidirectional memory do not produce either synthesis or resolution; they do not stick to conventional spatial and temporal boundaries and their expression may also take on unexpected shapes.

Rothberg concludes his book on a note of undecidable complication: The only way forward is through their entanglement. Their detail maps the contours of its wider cultural discourse. The film was shot on Lampedusa and shows the separate lives of migrants and islanders sharing the same space.

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In an interview given to the Italian daily La Repubblica , he is more specific in his analogy as he recalls boarding a vessel with a team of coastguards and discovering that those on the boat were dead. Unsure if he should film the scene, the coastguard tells him: In December , an inmate in the migrant detention center on Lampedusa managed to film scenes of naked migrants being forcibly showered and disinfected. The footage was broadcast on Rai2, an Italian state television channel.

The images were generally seen as reminiscent of concentration camps and the practice loudly condemned by politicians from all sides. Giusi Nicolini, the high profile mayor of Lampedusa was forthright: In September , Czech officials used felt-tip pens to inscribe identification numbers on the arms of arriving migrants. Although the aim was to record rather than obliterate their identity, 37 the perception that this procedure imitated too closely the tattooing of prisoners by the Nazis led to international outcry and condemnation.

Perhaps black bodies are easier to write about than white ones, because we are used to representing them en masse with no identity or name, to seeing them as one suffering body not as individual subjects with a particular identity. The Sin of Indifference. Comparisons between the Shoah and migration are often interwoven with other references.

The most frequently invoked parallel is the Middle Passage in which millions of black Africans died in the forced Atlantic crossing. Writing in October , in memory of the sinking two years before, the commentator, Vittorio Vandelli conflates all three: These are only a few examples of the figurative associations drawing the Mediterranean crossing into networks of entanglement for which cultural memories of the Shoah provide an indispensable lexis.

Their historically informed and politically urgent work is also intimately biographical. Her work interrogates postcolonial Italy and the absence of a robustly conscious and critical memory of the colonial past.

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After years of protracted negotiation and logistical difficulties, the stele had been returned to Axum in , and nothing had been placed in the square to fill the gap it left: Her chapter concludes with the wish that the space might one day be filled: In that square there used to be a stele, now there is nothing, It would be great one day to have a monument to the victims of Italian colonialism. The book starts however with another point of entanglement as Scego returns to Piazza Porta Capena. The emptiness left in the square by the removal of the Axum stele had been filled subsequently by a memorial to the events in New York of 11 September In , two Roman columns were placed in the square to remember those who died.

There was no acknowledgement that most of these people came from a former Italian colony. An initial proposal for a state funeral was quickly abandoned and those who died were buried in various cemeteries in Sicily. The survivors, still at that point mainly on Lampedusa, were not invited to take part; neither were they awarded the Italian citizenship conferred on those who perished.

The funeral was part of a public protest against political responses to deaths in the Mediterranean. The crowd comprised of Italian activists and Eritreans from across Europe. Scego describes the two coffins carried in the procession: An actress, playing the role of a drowned girl, recites in Tigrinya the suffering of the dead. Scego hears this voice as a call not to be forgotten: Taking possession of the management of death reverses the subordinate role afforded to postcolonial subjects in the domain of necro-politics.

The proximity of the Shoah and colonialism is evocatively suggested by a photograph given to Scego by the Italian Jewish writer, Giacometta Limentani. The photo, taken in , shows Limentani as a ten-year old standing beside three ascari , indigenous soldiers from East Africa serving in the Italian army. Looking at the image, Scego is moved by its unbearable poignancy: Recalling the murder of two Senegalese men in Florence by a sympathizer of the racist far-right, Scego relates this to the growth of neofascism across Europe concluding: In , the small town of Affile built a memorial to Rodolfo Graziani.

Graziani had been nominated Viceroy of Ethiopia after the declaration of empire and the most brutal excesses of the Italian presence in East Africa are attributed to him. The monument, paid for by municipal funding, was controversial, receiving coverage in the international press. Graziani also had his advocates, locally and further afield, clearly demonstrating the unresolved nature of Italian colonial memory.

Over were deported to camps in Germany. It is widely believed that his action facilitated the mass deportation. Scego translates the image into a subplot in the novel. When Zoppe, a Somali translator working in Rome under Fascism, is arrested and is being beaten in prison, he recalls the white Jewish family with whom he had made friends. Davide, Rebecca, and their young daughter Manuela only ever appear in the novel as a kind of memory or fantasy. In Adua , Scego translates the photograph given to her by Limentani into a family of ghosts which haunts Zoppe, the colonial subject in Rome.

Her translation of the familiar lexis of the Shoah into the register of the postcolonial is destabilizing, or multidirectional, in that no single historical event or experience is given priority. For Scego, language is a site of memory, and indeed a practice of commemoration or memorialization, but also of hurt and damage. Dagmawi Yimer arrived in Italy in July , rescued by Italian coastguards after the boat he was travelling on across the Mediterranean sank.

Born in Addis Abeba, Dagmawi left Ethiopia for political reasons and spent months crossing the Sahara desert to reach Libya and get to Europe. The attempt to find a language for experience which exceeds the limits of language has been an ongoing challenge in the representation of the Shoah. Yet equally as compelling has been the ethical imperative to find ways of bearing witness to the experience of it.

In a short essay in the volume accompanying Come un uomo sulla terra in which he describes how he kept a diary assiduously during his journey from Ethiopia, Dagmawi reflects on his ethical commitment to witnessing:. The determination to bear witness has been a constant in his work along with an attentiveness to the risks inherent in representation. For Dagmawi, the duty of testimony also demands discretion.

He concludes the story by remembering those who had already lost their lives at sea and also their names whose meanings ironically seemed to have promised a better future. Saying these names aloud has an incantatory force: It is also central to the work of the Holocaust Memorial Trust which encourages naming as a potent strategy for countering the anonymity of numbers. Names in Memory of All the Victims of the Sea , the seventeen-minute film he directed to remember those who died on 3 October.

Tolkien collection: J.R.R. Tolkien the Esperantist. Before the arrival of Bilbo Baggins

In a short commentary on the film, Dagmawi writes:. Names laden with meaning even if their meaning is difficult to grasp completely.

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We are obliged to count them all, name them one by one so that we might comprehend how many names have been severed from their bodies, in a single day in the Mediterranean. The film explores precisely this separation of body and name through aesthetic choices which represent the unrecoverable corporeal loss of the not-to-be-forgotten dead. These choices not only represent their absence and mourn their loss, but also present an alternative aesthetic to the spectacularization of the abject African body familiar from standard media representations.

There is an abrupt cut to underwater scenes and choppy waves. The camera pans in on a stylized drawing of a boat with a jump cut to a close-up of the blackness of the hold. The camera again pans across watercolour paintings of people, embracing or with arms outstretched attempting to swim to the surface.

A slow animated sequence of people standing with the upper half of their bodies covered with shrouds is followed by actual footage of the same. The soundtrack to this sequence alternates between the sound of gently lapping waves and the music of a single instrument which accompanies the female voice. Her singing merges into a ferocious spoken indictment of the culpability of African leaders and the indifference of European politicians, proud of the values of Western civilization.

The families of the dead are exhorted to call out their names in remembrance.

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Before the female narrator begins the work of reciting each name, she speaks a few lines over animated images of the shrouds denouncing the longevity of what is often portrayed as an exceptional moment of crisis. Two points in particular are forcefully made. As mentioned above, Italian citizenship was conferred on those who drowned on 3 October while the survivors were interned.

Many of the names are accompanied by the literal translation of their meaning. In addition to hearing the names, the spectator sees them hurtle directly towards her; the Tigrinya script adding to the unfamiliarity of the experience [ Fig. The recitation of the names is a deliberate strategy to remember those who died and to displace that memory from mere statistical enumeration. Translating the meaning of each name deepens the existential and cultural roots of each life.

Judith Butler ponders the relevance of the name in her discussion of the ethical parameters of the Abu Ghraib images of abused Iraqi prisoners. They are, and are not, ours to know. In this sense, the face and name are not ours to know, and affirming this cognitive limit is a way of affirming the humanity that has escaped the control of the photograph. Butler makes the point that in this particular instance the photographer is wholly complicit in the scene. A different complicity entangles the Turkish photograph Nilufer Demir whose images of the Syrian boy, Alan Kurdi, who drowned on 2 September , resonated across the world.

It is a corpse that is less than human, it is a thing. While this thing waits to be claimed, you will become something else in this world: There is no ritual for mourning the unclaimed. There is no paying of respects for unmarked graves. While your body is thrown into a shallow grave and marked with a number, the you that is attached to a name, the you that now lacks a body, will have simply disappeared from this earth.

Menghiste endorses his determination to work through the entanglement, a commitment inherent to the projects of Scego and Dagmawi. As I noted earlier, both Rothberg and Chow are deeply engaged in tracing the forms of entanglement that memory assumes.