Bruciare i Grassi Velocemente Il Miracolo Della Perdita Di Grassi In 4 Minuti (Italian Edition)

Log In Sign Up. Journal of Italian Translation - Vol. IX, Spring and Fall All Luigi Bonafini translations are published with the original text. It also publishes essays and reviews dealing with Italian Associate Editors translation. It is published twice a year. Gaetano Cipolla Michael Palma Submissions should be in electronic form. Trans- Joseph Perricone lations must be accompanied by the original texts Assistant Editor and brief proiles of the translator and the author.

Brooklyn, NY Geoffrey Brock or l. Marco Sonzogni Payments in U. Gibellina was eventually rebuilt in a new location. The old roads remained as paths through a labyrinth. I was struck by how my experience of this place relected my experience, as a sec- ond generation Italian-American, of looking into my cultural heri- tage with contradictory feelings of both connection and distance.

Tracings and graphite rubbings are the initial mark making processes that generate these drawings. As indexical marks, they embody aspects of both documentation and absence - something I relate to the buried town of Gibellina and my distant heritage. The drawing approach that follows is a layering of line, tonality, and erasure into the two surfaces that inform the work. Maps, ranging from geological formations to celestial bod- ies, invite me into a realm of memory and imagination. The literal coordinates of lesh and stone transition into the poetry of evocative mapping.

Garage compreso by Paola Ferrarini Montanari Selected Poems , translated with an introduction by Adria Bernardi. Chelsea Editions, by Santi Buscemi Legas , by Marco Scalabrino She loved Shakespeare in a time when very few knew of him in Italy and used her English knowledge to write an Italian Othello, Macbeth and Coriolanus Renier, Alleged to have been the translator of the translators, her translations were scarcely considered even by her biographers who remember her as the author of the Origine delle Feste Veneziane Renier, Nonetheless, the comparison between the two texts reveals the presence of the same author, in particular in the reiteration of the same themes and especially in the two prefaces.

As a matter of fact, her experience in translation was very important to her development as a writer and it is evident in her choice of writing her original work in two languages, Italian and French.

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It is important to stress she is the irst one as there are still scholars who deny her role in introducing Shakespeare to the Italian public. It could be probably astonishing to realize that William Shake- speare was more or less a complete unknown in Italy at least until the nineteenth century, but it is not a good reason for denying her the consideration she deserves. Unfortunately even recently differ- ent scholars have been entitled of the worth of being the irst Ital- ian translators of Shakespeare, I refer to Valentini, Verri and even Gritti.

Verri translated Hamlet and Othello, but he was not satisied by his work as we can read in his letters and he did not publish them. It is not uncommon for a translator to be forgotten. As a matter of fact, even the manifold existence of the same text in many ver- sions pays its contribution to the neglected condition of the transla- tor, whose many names disappear in favour of the original author.

If these same reasons occurred even in this circumstance, there is also a particular consideration that must be taken into account; the translator being not only a translator and consequently lower in status in comparison to the writer, but also a female translator and writer. It may not seem relevant, but it is necessary to consider the context in which her translation was born and also the importance of the author she chose to translate.

In fact, if there is an exception to the rule of indifference to translation, it could be made for famous writers who happen to be translators and for the irst translators of very important authors, as is the case. Giustina Renier published her Italian versions of Shakespeare in In particular, she translated Othello, Macbeth and Coriolanus. Her translations should be taken into even greater account when considering the scarce knowledge of Shakespeare in Italy at the time and the bias attached to his works due to the negative critique given them by Voltaire.

This was an opinion absolutely unquestionable for the most part of Italian scholars at the time. Actually, it was exactly this scarce knowledge that made her task easier, on account of the possible indifference which they could be received that at least could save her from blanket accusa- tions.

In fact, as a woman, it was not considered proper to write. And if translation could be bestowed on her by the assumed absence of originality, which prevented it from at least being considered something she had written, it was still considered quite daring to translate an author of importance, most of all a classical author. This was due to the belief that women could not learn Greek or Latin.

In accordance with the rule of the day and considering the scarce relevance of Shakespeare at that period in Italy, her translations seem to have passed unnoticed. Apart from some references in the correspondence of her friends, I did not manage to ind any hint of them in any journal, as they would have never been published. The biographer in question is Vittorio Malamani who published his book in It is important to stress the date, not only due to the different context in which he writes, but also as Shakespeare had become a popular author in Italy by that time, whose plays had been completely translated by differ- ent translators and after some unlucky attempts, also successfully performed.

It could be argued that, the name of Shakespeare being now a very popular one elevated to the status of a classical author and referred to as a point of reference by writers and scholars, even his translations have come out of obscurity and become a matter of importance, no longer within the reach of a woman. Such a considera- tion seems to assume a more practical edge due to another peculiar circumstance: Even though this is evident by the analysis of the versions, she seems still to be under examination as the concerns of some scholars point out.

What is questioned is the very existence of her work, since as a woman she could not have the erudition evident in the work, not only in the text but also in the notes. But actually the charges went even further. Actually, it is unquestionably true that Cesarotti read her translations, sent to him by Renier herself to have his opinion on them as their correspondence points out. But there is no evidence of this either in it or in the very translations of any Cesarotti rewriting. Instead there are inklings of the contrary. In fact in one of his letters Cesarotti2, in attempting to convince Renier to change something in her introduction, states she did not love using others things and again in another letter he sent her a new introduction to Coriolanus, which she actually did not use.

But if the absence of concrete evidence is not enough to clear her from accusations, it is the analysis of the text that speaks in her favour. Apart from the point that it is not reasonably evident why a translator of the translators one should in any case be more indictable, unless it is not previously stated that to be a translator is reason for shame. In any case it is possible to clear her of such an indictment through a comparison between her translations and the French ones.

But there is something more that must be considered in order to form a complete portrait of this author, and which could again testify to the originality of her work. It is the presence of some topics of interest both in her translations and in her historical essay Origine delle Feste Veneziane, topics which seem to have irst attracted her concern in the Shakespearian translations and appear again in her original work, more scattered this time, as the work is quite ex- tensive. In any case still there to point out what is totally particular about the author-translator.

In this regard, it is important to consider irstly her translations. A work conceived several years before the publication of her essay and so potentially important in the reading of her following works. This proceeding, if on one hand shows without any doubt what she owed to Le Tourneur, on the other pointed out the original parts of her translations. It could be argued that she had just copied the French introduction. In the irst of her own sentences, she apologizes for what she knows was not allowed to a woman: In anticipation of possible critics she is the irst to make amends and give an explana- tion as she states: So he teaches us it is better to take a proportional means between too strict a faithfulness which wears out, and excessive liberty which falsiies.

She acknowledges the dificulties of her work and states, under cover of a quotation, what she thinks a literary translation should be. Something which could never set aside the literary creation, as the original is a work of art. But at the same time, it must somehow be respectful of it: While not at all new in the debate about literary translation, this consideration reveals at least her to be aware of what has been said about translation by scholars and translators.

In fact she says: I will try, as far as I can, to follow these rules, and not to defraud my readers of some peculiar sentences, which, to comply with our language wit, I have to leave out in translation, I will quote them at the end of the Tragedy in the exact verbal version. She again makes amends for translating.

In fact, she states she has cut some things. But in accordance with what she said about translation, she acknowledges her cuttings in notes. Furthermore, she herself avows her debts to Le Tourneur, whose translations she used in order to do a good job and whose name is extensively quoted, but speciies that not all the notes are taken from his versions. What she further states points out even more clearly her concerns about the receiving of her translation and because of her fears, she goes on to explain in her modus operandi.

This may be the only topic a woman can discuss without fear of the accusations of men. She is particularly interested in reactions to theatrical perfor- mances, in feelings aroused by plays, subject proper to a woman and for this reason she says she will talk about that in the particular introductions she wrote to each play, stressing anyway her reading of what scholars wrote about it.

Finally, her last passage, which is the most important as at its heart it is possible to read the purpose of all her works. In her inal sentence she says: It is not her love of Shakespeare, not her interest in the particular subjects of the plays she translated that urged her to be a translator. On account of this statement it is in fact possible to read also the main reason which governed her se- lection of the Shakespearian plays she translated.

As stated before, she translated only three plays by Shakespeare, Othello, Macbeth and Coriolanus. But Le Tourneur translated all the plays. It could be argued that she selected just these three plays for some particular reason. Considering the tragedies in question, it is striking to notice the presence of very strong women in all of them. Desdemona, Lady Macbeth and Volumnia are in fact protagonists of the different plays and share the same very strong nature and attitude to life. All of them take decisions, they act in irst person in order to get what they want and they all are struck down by those very decisions.

It is what hap- pens to Desdemona. She wants the More and in order to marry him she acts and deceives her father. It is just this unsubmissive attitude that will bring about her ruin. Lady Macbeth has a very strong nature too. She wants her husband to be king and in order to get what she wants she conceives the plan that will destroy her and her husband. Volumnia has the same strong characteristics as the other protagonists. Actually she seems to share the very same heroic features as her son. But she also wants and acts. She wants her son to be consol.

She is the one who acts and decides what her son has to do and inally she is the one who will be punished for her decisions through the death of her son. Firstly a very young one who makes the wrong decision about marrying. Secondly a mature woman, already married, who is able to exert an inluence over her husband, but does it for the wrong reason. Finally an old woman who this time exerts inluence over her son and ends up ruining him. This purpose is corroborated by the analysis of the translations themselves.

Everything seems to have been governed by that very educational purpose. It is with this purpose in mind that she felt compelled to read what scholars have written about Shakespeare. It is important to stress her concern about her public interest, because it is this same concern that is possible to observe in her original book. In particular, as she herself stated in the introduction, she believes in the power of theatrical representation, in the force of the exemplum. The work is made up of ive volumes.

The irst two volumes were published together in , the third in and the fourth and ifth in At irst glance, it is possible to perceive the importance transla- tion played in her experience as a writer. In fact, she wrote in French and Italian. Actually it is quite dificult to ind out which language was used irst inasmuch as the French and Italian languages allow a very close translation with almost no changes even in the structure of the sentence.

In this case, the Italian text follows exactly the French one, with no change of notice. The lattering article dedicated to her book in the 8th number of the Foreign Quarterly Review seems to prove it. Being a translator, she knows the importance of language. The Italian language was certainly not one everybody could read.

For this reason her work could have been conined to Italian borders, at least until some translator who happened to like her work came along and decided to translate it. Mindful of her past experience as translator, conscious of the importance some European intellectuals and Cesarotti attributed to translation as a useful means of com- munication between cultures and perhaps also inluenced by M.

French was the most popular language at the time. In any case she does not renounce her Italian in any way but inverts the ordinary order of importance, with translation irst and mother tongue second. As far as her work is concerned, it is preceded by an introduction in which the author explains the reasons she wrote it and deines the topic.

What is soon evident is the patriotic concern of Renier. Venice is not a republic anymore and after the Restoration it is now under Austrian dominion. Her purpose is not to let the glories of her coun- try be forgotten and to reassume the dignity of her city, even under such bad circumstances. What is striking here is again the assumed importance of the example.

But she is a female writer and her concern about the reception of her work appears again. It could be argued she wants again to offer something which can be instructive and pleasurable at the same time. However, in both circumstances she considered it proper to change something on account of her readers, making evident her alterations to the public. Closely related to the question, another problem arises on the sub- ject of sources. She also states to have consulted many popular Venetian historians to ask for conirmation of the facts narrated.

To conclude, she protests again for her veracity and after a few words spent to defend her plain style, she inally asks for indulgence if, notwithstanding her efforts, she has sometimes pleaded too much for her country. Considering the volumes, they report many historical events related to the origin of each particular Venetian celebration, all told in a very emphatic tone, which gets melodramatic quite often.

Even though she usually mentions the au- thors she challenged, it is ordinarily quite dificult to ind references to her sources. Every now and then she mentions contemporary Venetian scholars, like Morelli vol. Of course she had already said she would not mention her sources all the time in order to have a more lively narration. But certainly, by doing so, it is quite dificult to ascertain the truth of the events, particularly in reference to many anecdotes she loves to refer to.

What is soon evident is the heroic feature of the protagonists of the events she tells, with the Venetian people playing the part of the good ones and the opposite party depicted as cruel and cowardly. But apart from the evident factiousness in the relation of the facts, what is really interesting and specially connected with her previous translation work, is again her special concern for women. It is quite surprising to notice how many women she mentioned in her essay, particularly if we consider that it is a historical essay. Since the very beginning, she loves lingering over the description of attitudes and manners of her countrywomen, always giving some details about dresses and ornaments.

She regrets the simplicity of the past in com- parison to the dependency over fashions that seemed to be the main concern of the women of her time. A complaint which she had already expressed in a note to her translation. But apart from the unordinary presence of women in the middle of historical battles and subsequent celebrations, it is also interesting to note the reference to female schol- ars and female heroines which quite often appear to take their part of glory in the actions narrated.

I refer in particular to her mention of Cassandra Fedeli vol. II, and to the heroine Marula vol. The irst one has been particularly praised by Renier for her knowledge of Greek and Latin. As she usually does, she relates an anecdote linked to this lady which tends to point out her love for Venice. Her appreciation of Venetian ladies, not to forget her fellow country women, is also interesting.

On the subject of Marula, the pres- ence of a female hero, is not the only point of interest but most of all, the narration of another anecdote, this time connected to a wedding. Praised by her general because of her great courage displayed, she is offered to choose one of the most valorous soldiers to be her husband.

If it does not appear to be the main topic in Coriolanus, even though present in the couple Coriolanus - Virgilia, marriage is a topic of some importance in Othello and Macbeth. But it is not just the presence of women in her text that shows her concerns. Actually, scattered in all the volumes there are hints suggesting the author to be a woman. In this regard, what is par- ticularly interesting is her consideration of female writing in the third volume. She recollected the documentations and wrote an account of them that she sent to the prince.

She also apologizes to her readers because of the possible repetitions they will ind in it, the events she told being for the most part considered in her essay vol. What it is of interests here, is not just the presence of women again in the narra- tion, as with the anecdote about Caterina Quirini vol.

III, — , but what she wrote in the letter to the prince attached to her short essay. She justiies the presence of the letter with her desire of re- porting the one the prince wrote in answer to her. In fact, she refers to that and due to the questions the prince addressed to her, she asked for help from a friend, the count Carli Rubbi. It is thanks to her assumed humility that she can offer her reasons for writing. With a botanical metaphor, she associates scholars to imposing oaks and sensible women to humble violets. She goes on explaining: Would it be audacity, if, under the appearance of a slender lower, I aspire to awake sweet sensations in the heart of such a great Prince, through the reading of a report completely different in its kind from the irst one?

III, As a matter of fact, she knows she cannot put herself in competi- tion with male scholars due to the difference in education imparted to men and women. Notwithstanding this, she asserts her right to write as a single and unique person, as a woman, particularly, whose writing must be different from the one of any other writer and of a male writer. It is the difference she considers, and the difference in reading too. A difference that she feels worthy of being noticed and which can actually allow every woman to write and every text to be read as unique.

To conclude, it is important to notice the presence of a few little translations inside the very essay. As noted, the Italian text is already a translation from French and a very literal one3. Writing irst in a foreign language, she used a quite simple style which she adopted also in translation, to avoid possible confusion. But what must be stressed is the presence of a few passages translated from Latin that make their appearance every now and then.

It is impossible to state with absolute certainty her knowledge of Latin. Actually, at the time of her Shakespearian translations, it was the very presence of quotations from Plutarch that cast a shadow over the authorship of the texts. On that occasion, it was possible to clear her from the accusation of not being the translator, thanks to one of her notes where she stated she read Plutarch in translation.

This time she presents different passages from Latin, in different parts of her essay, stating only on one occasion that she was quoting the Italian translation of one of her friends. In particular, the irst translation is a letter by Petrarch, in the irst volume. The other translated passages appear in the second volume, where again she says she is offering a literal translation from Latin.

Finally the last translation is in the ifth volume. Alessandra Calvani 25 Firstly, it could be argued from these translated passages, that she is addressing herself to a female public, as the knowledge of Latin was taken for granted as far as men were concerned. This inference is conirmed by her last translation, offered to her public with the certainty they will be especially welcomed by women vol. But they would need too many pages.

I hope that the examples offered here illustrated the point clearly enough. Calvani, Translating in a female voice, in Translation Jour- nal, vol. Cesarotti , Epistolario scelto, Venezia: Cesarotti , Saggi sulla ilosoia delle lingue e del gusto, Pisa: Tipograia di Giuseppe Staide. Edizioni di Storia e Letteratura. Stabilimento Tipograico di P. Montagu , Saggio sugli scritti e sul genio di Shakespeare paragonato ai poeti drammatici greci e francesi con alcune considera- zioni intorno alle false critiche del Sig.

Calvani, Translating in a female voice, in Translation Journal, vol. But am I other or thyself? Her main research interests focus on literary translation from English into Italian , the translation of language varieties, the literature of the American South. She has published a number of translations in Italian journals and magazines. This paper focuses on two different tendencies in the Italian translations of African American English, namely stereotypical rendering and standardization of language varieties.

Even if they start from different perspectives and eventually come to opposite conclusions, both scholars testify to the impossibility of creating a stylistically accurate and not stereotypical Italian translation of African American Language and implicitly suggest normalization of language varieties as the only possible alternative to stereotypes.

A broader overview of the theoretical debate on the translation of dialects also highlights the limits of standardizing language varieties and casts doubt on the alleged beneicial effects of the normalizing practices. African American English in Italy: Many Italian scholars acknowledge that there are stereotypi- cal linguistic features in early Italian translations and dubbing of AAE -- such as the use of ininitive verb forms for conjugated ones and the replacement of unvoiced consonants with voiced ones. Most linguistic features employed in early Italian translations of AAE implicitly stand for the incorrect expressions of those who cannot speak properly.

An example is the overuse of ininitive verbs—a feature associated by Italian linguists with second-lan- guage acquisition2. Yet AAE, as it has been clearly shown by many different scholars, is a language variety that has its own grammar and can successfully fulill any communicative purpose Labov; Rickford; Green; Wolfram; Smitherman. Thus, translating AAE into Italian by means of this feature assimilates it erroneously to the language of North African second-language learners.

Italian dubbing strategies have changed over the years follow- ing the changing status of African American characters in movies. Chiara Martini 29 Starting from the Sixties, stereotypical features began to disappear, especially in movies that focus on racial issues: In Roberto De Leonardis was appointed as director for a new version of Via col vento dubbing, which eliminated all grammatical stereotypes in African American speech but received very little attention from the public; the same had happened four years before in the Disney movie Song of the South I racconti dello zio Tom, irst Italian dubbing in , second version in , both directed by Roberto de Leonardis which was re-dubbed in by the same De Leonardis because of similar concerns about the rendering of African American English.

In recent years Italian scholars Taylor; Malinverno; Pavesi; Zanotti have pointed out an opposite tendency toward normalization of linguistic variation in dubbing. Literary translations of AAE seem to have followed a less lin- ear path. Despite well-grounded objections, the overuse of ininitive verb forms and replacement of unvoiced vowels with voiced ones appear even in recent translations of African American English.

It is possible to hypothesize that Cesare Pavese used these features in his translation of Moby Dick because at that time writers were not fully aware of the sociolinguistic implications of this grammatical choice. Sembra, lo so, una parodia del Broken English, rotto, spezzato, informe, elementare. As I have previously pointed out, similar strategies are frequently employed also in Italian dubbing. Chiara Martini 31 2. Theory and Practice of Translating Dialects5: From a theoretical standpoint some scholars underline the limitations that such a task necessarily imposes and consequently deny any real relevance to the topic: Halliday, or translation scholars like Peter Newmark, as underlined by Federici in his introduction to Translating Dialects and Languages of Minorities.

For most translators, the standard variety becomes a language, a sort of sociolinguistic dogma, which puts them in the hierarchies of language and social success. Given that the standard variety is a property which has passed the market test, any translator may be left with no choice but to conform to the belief that the standard variety is the crucial medium of survival in the publishing market and for personal success When translators do not attempt to force the norms, they are conservative in respecting the target language expectations and avoid challenging it with non-standard variants […].

When trans- lators try to reveal the differences in the source language, such as in The Simpsons dubbed into Italian, which uses target language dialects ad absurdum see Dore , they are experimental. An idiom characterizes a society, and when you ignore the idiom, you are very likely ignoring the whole social fabric that could make a meaningful character.

Language is one of the most powerful tools the author masters in order to represent social differences. All of her characters show linguistic features that can be ascribed either to Southern American English or to AAE or to both: Problems in relations between different classes are represented through dialogues illed with misunderstandings, especially between white and black people: Words are seldom able to establish a real relation among human beings who belong to dif- ferent social classes; rather different ways of speaking symbolize separated worlds and identities that cannot meet. The following examples show some of the corrections that the editor makes to the translation of African American speech: Tutti Rac- conti 4 Restoring of correct syntactical structures in place of sub- standard or only uncommon ones: If this is the case, a problematic lexical choice still remains unaccounted for.

In this regard the edition does not show any difference from the one and preserves the identical vocabulary of ethnicity, as in the following examples: The Negro had stopped what he was doing and watched him. Complete Stories Il negro aveva smesso di lavorare ed era rimasto a guardarlo. Vita Tutti Racconti […] and eventually she had to stay in bed […], with only a colored woman to wait on her. Scholars like Schiavi propose the existence of such standardization paradigm in Italian literary translation from English Not only did prestigious translations show it -- such as the Mondadori edition of the Sound and the Fury translated by Vincenzo Mantovani, later repub- lished by Einaudi — but also innumerable recent ones: These examples show once more how grammar — through lexicon in this case — can convey inadequate translations and representations of a different culture.

As we have tried to show so far, Italian translations of African American language display many erroneous linguistic habits, which are still dificult to eradicate. Armstrong, Nigel and Federico M. Translating Voices Translating Regions. Anna Giacalone Ramat, and Giuliano Bernini. Conside- razioni sulla nozione di standard in linguistica e sociolinguistica. Standard e non standard tra scelta e norma: Woolard, and Paul V. Oxford University Press, The case of Turkish translations.

Translating Dialects and Languages of Minori- ties: Challenges and Solutions, Bern: La rappresentazione del diverso in italiano e nei dialetti. Federici, Federico M, ed. Translating Dialects and Languages of Minorities: Fitzgerald Sally, and Woods Ralph C. Print Green, Lisa J. Cambridge University Press, Linguistic Studies of Text and Discourse. London and New York: Language in the Inner City: Studies in the Black English Vernacular.

University of Pennsylvania Press, Il fascino nel tradurre: The Tusks of the Tran- slator in a China Shop. Farrar, Straus and Giroux, Njegosh, Tatiana Petrovich, and Anna Scacchi, eds. La lingua del colore tra Stati uniti e Italia. Ombre corte Edizioni, African American Vernacular English: Features, Evolution, Educational Implications. Le traduzioni italiane di William Faulkner: Istituto Veneto di Scienza, Lettere ed Arti: Word from the Mother: Language and African Americans.

Giuliano Bernini, and Vermondo Brugnatelli. Questions regarding Translation and Dubbing. Wolfram, Wolt, and Natalie Schilling-Estes. Eerdmans Publishing Company, A History of Translation.

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Challenges for the 21st th Century: Papers from the 24 AIA Conference. For an analysis of the overuse of Italian ininitive verbs among second-language learners see Bani. Yet I had to resort at that time, and I would do the same today, to the overused stereotype of those who speak in inini- tives and mangle sounds and words.

I chose the stereotype in order to preserve the contrast, rather than leveling and losing the distance between the two languages. The second one, entitled Tutti i racconti and published in , collects all the short stories belonging to the American edition The Complete stories My citations from Tutti racconti refer to the edition. Omboni refers to this choice in an undated letter addressed to one of her editors Guido Davico Bonino at Einaudi publishing house. A general amnesty allowed him to return to Italy in where he began a career as a journalist and political commentator.

Giulio Camber Barni Born in Trieste, he studied law and philosophy in Vienna before being drafted into the Austrian army on the outbreak of war. Along with a friend, he deserted and volunteered for the Italian infantry. He rose through the ranks to become a captain, was twice decorated for gallantry and survived a gas attack. After a career as a lawyer, he was called up again in and served as a major in the Frontier Guard in Albania, only to die there after falling from a horse. He then studied law, but very soon became a popular and proliic novelist, journalist and essayist.

He wrote one novel based on his war experiences Giorni di guerra and published two collections of poetry, Poesie and Bassa marea Clemente Rebora Having studied for a degree in literature at the Accademia scientiico-letterario in Milan, he became a teacher and began con- tributing poems to the leading Florentine literary journal La Voce. Having already done his national military service, at the outbreak of war he was called up as an infantry lieutenant and suffered a serious head injury from an Austrian shell.

He spent the next three years in military hospitals recovering from the physical and psychological shock, but was able to resume his teaching career until a religious crisis in He destroyed all his books and papers in the following year and eventually took holy orders as a Rosminian priest. He continued writing poetry in a religious vein and two editions of his collected works Le poesie were published in and In he irst joined the Italian Red Cross, then served as an infantryman from Alongside of his work as a classics teacher and translator of the classics, he was a noted amateur botanist, especially of lichens.

He continued to write poetry and also published a many works of prose. Ardengo Sofici After studying painting at the Florence Academy, Sofici spent seven years in Paris , mixing with the artists and writers of the day, including Picasso, Braque and Apollinaire.

Called up in , Sofici served in the infantry and wrote about his experiences not only in his poetry but in two memoirs Kobilek and La ritirata del Friuli Carlo Stuparich Born in Trieste, then still part of the Austro-Hungarian Empire, Stuparich was an irredentista who believed that the great port should return to Italy. Although he had moved to Florence to study in and joined the literary circle around La Voce, he quickly volunteered for military service against the Habsburgs and was commissioned as a lieutenant in the famous Sardinian Grenadiers. Unfortunately cut off during an attack, and having lost all his men, he took his own life rather than surrender to the enemy as an Austrian citizen, he would have been condemned to death as a traitor.

He was thus receptive to Futurism, which he tried to introduce to Sicily with his own short lived literary journal, La Balza. Like many other young Italians, he was inluenced by patri- otism to volunteer for active service against Austria-Hungary and served as an infantry lieutenant. He was wounded and on conva- lescence in Syracuse wrote a prose-poetry diary in French. At the end of the war, he lost interest in the avant-garde and turned to dialect poetry and the study of Sicilian culture. After many years as a schoolteacher he became a professor of Sicilian culture and language at the University of Messina.

Giuseppe Ungaretti Born — like Marinetti — in Alexandria, Egypt, and educated in French there, he went to Paris in intending to study law at the Sorbonne. He met the leading French and Italian writers and painters in Paris and also the Florentine Futurists, who invited him to contribute to Lacerba. On the outbreak of war he moved to Milan and was drafted into the infantry as a private, ighting on the Austrian and later French fronts.

The poetry he wrote in the trenches was irst published as Il porto sepolto and later ampliied in Allegria di naufragi in In it he proclaimed a new dawn in aesthetics for the new century, praising the virtues of the technological age, which he saw as a potential for spiritual renewal. It caused a sensa- tion throughout Europe. Marinetti was perhaps a little late in his praise of machines, which had been around for well over a century, but it was the irst time an aesthetic movement had lauded the speed, mobility and sheer power of the very latest in industrial in- novations and proclaimed them almost as moral virtues to enhance the soul of man and save it from its comfortable bourgeois sloth.

This idealism had a darker side. Marinetti also saw war as a source of renewal: Noi vogliamo gloriicare la guerra — sola igiene del mondo We want to glorify war — the only source of health in the world. Alzare le gambe in posizione eretta: Stare in piedi, i piedi sulla larghezza dei fianchi. Mani poggiate sui fianchi se hai un problema con l'equilibrio, afferrare una sedia, per esempio. Sollevare una gamba di lato, in alto possibile, e quindi abbassare lentamente. Sollevare le anche in posizione sdraiata: Sdraiatevi sul pavimento sulla schiena, mise le mani lungo il corpo.

Gambe impostare la larghezza dei fianchi, Kolona Ugine, poi lentamente abbiamo alzare ed abbassare il fianchi. Provare a galleggiare in alto il bacino, non lo stomaco! Sollevare la gamba indietro: In generale, migliora l'aspetto delle cosce. Siamo in grado di eseguire semplicemente le mani esercizi aggiuntivi per le nostre mani.

Perdere peso dopo i 40 Perdere peso dopo 40 difficile, ma non impossibile. Potete trovare la risposta qui sotto. Ti rendi conto che solo i loro limiti fisiologici e iniziare a fare qualcosa verso la riduzione del peso. Prima di iniziare a perdere peso dopo 40 Avvio di perdita di peso dopo 40 prima di analizzare con attenzione la loro salute. Fare un analisi del sangue di base, visite ginecologiche se sei una donna e, se necessario, la ricerca endocrino. Dopo qualcosa comincia a bruciare noi ogni sorta di malattie, e alcuni di loro ad es. Come perdere peso dopo i 40?

Inizia a piedi, quindi inserire il interval training HIIT che costruiscono perfettamente resistenza. Allo stesso modo, una dieta: Ridurre il volume dei pasti, aumentare la frequenza di loro mangiare - questa semplice procedura migliorare molto rapidamente il vostro metabolismo. Guida in perdita di peso, o integratori Non dimagrante integratori, ma visto che sei qui probabilmente bisogno di aiuto. E 'in grado di fornire alcune sostanze presenti in natura nelle piante e di alcuni prodotti di origine animale.

Queste sostanze hanno effetti diversi: Queste sostanze possono essere trovati in molti integratori. All'inizio possono sembrare lunga e noiosa. Tuttavia, queste sono piccole cose che possono diventare in fretta, anche i vostri buone abitudini. Basta consapevolmente e mangiare in modo sano. Mangiare piccoli porzioni al giorno, ad intervalli di ore. Mangiare yogurt, che contengono colture vive di batteri probiotici. Prevenire la stipsi e flatulenza Esercizi Esercizio esercizi 8 minuti al giorno per i muscoli addominali, precedute da 10 minuti di warm-up, in modo efficace scolpire esso.

Pratica 6 volte a settimana. Anche se si lascia andare treningi settimana, non tagliare completamente, non si arrendono. Se si dispone di un grande sovrappeso anche eseguire l'esercizio aerobico, preferibilmente tre volte a settimana per 60 minuti. Venite per passeggiate a piedi, in bicicletta o sui pattini, iscriversi a un corso di danza. Vale la pena di utilizzare speciale lozione massaggio sulla parte del corpo.

Sdraiati comodamente sulla schiena su una superficie dura. Premere mano addome ed eseguire movimenti circolari in direzione di orario. Massaggi eseguire per 5 minuti e termina con un carezze dolce. Bagno di pulizia del corpo dalle tossine. La vasca con acqua calda versata birra cotto con due litri di acqua bollente e erbe le manciate di erba viola, ortica e tarassaco. Nei lavandini all'acqua preparati per minuti. Utilizzare il bagno una volta alla settimana.

Migliora la circolazione sanguigna, rilassa i muscoli e migliorare l'aspetto della pelle in tutto il corpo. Biancheria intima di dimagramento Indossare una cintura, che appiattisce la pancia e modellare la vita. Ricordate che le braccia leggermente inclinato indietro, e le spalle tirato, tirare i fianchi leggermente in avanti mentre tendendo le natiche.

Quali pillole dieta funziona davvero? Ci sono molte pillole dimagranti che funzionano davvero. E anche se molte persone scelgono ancora di raggiungere per un tablet molto dannoso Meridia, adipex , compresse di origine ignota e composizione sconosciuta, o non del tutto attendibile meglio non salire su queste persone.

Solo rovinare la loro salute. Pillole dimagranti naturali sono non meno efficace e non causano gravi lesioni corpo. Essa si verifica in quasi tutte le verdure, frutta e cereali. Fibra alimentare in eccesso piuttosto noi non male se si beve anche molta acqua. La mancanza di acqua provoca costipazione e ostacola l'assorbimento da parte del corpo di vitamine contenute negli alimenti. Compresse bruciare i grassi e accelerare il metabolismo La maggior parte di questo gruppo supplementi sono: Meglio portata di L-carnitina.

Non stimola come una bevanda, in modo da poter prendere impunemente, fino a quando ci fermiamo alle dosi consigliate dal produttore. CLA migliora il metabolismo, aiuta ad aumentare la massa muscolare e previene la formazione e l'accumulo di grasso corporeo. Ho discusso le compresse hanno un effetto molto diverso.

Tenete a mente che queste pillole possono aiutare, ma non aspettatevi risultati immediati dopo di loro. Anche sulla perdita di peso. Se questo non convince di controllare il forum per gli atleti attivi. Se reagisci male, ad esempio. Come perdere peso 10 kg? Chi combatte con sovrappeso vuole e sta cercando una dieta corretta, ma in via preliminare Cerchiamo di renderci conto: Naturalmente, sbarazzarsi di fino a 10 kg in un mese sarebbe grande realizzazione, ma potrebbe anche essere debilitante al corpo.

La cosa migliore sarebbe di perdere un chilogrammo a settimana. Come perdere peso mangiando? A coloro che sono meglio scartato dalla dieta fanno parte di tutti i fast-food'y, cibi fritti in grasso profondo, bibite, caramelle, succhi di frutta zuccherati e snack ipercalorici tra i pasti. Quelli che dovrebbero essere inclusi nella dieta dovrebbe entrare pesce, carne magra, pesce, cereali integrali, latticini magri, verdure e frutta. Beh vedere di verdure. E 'essenziale per il nostro corpo come guadagna tutti i processi che avvengono in esso.

Come perdere peso esercitare?

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Ma qui non si riesce a far passare. As they were getting onto the highway, they met Ughino who was entering the road, going towards the Allen residence on his delivery tricycle. I have to ask Ughino something. I will be right back. I can come by around six. Be at my house at six. Markus was lost in thought. I often think about him and I am tempted to go visit him to write an article. But Mary discourages me all the time On the other hand, not even Melampus was aware he was one!

He was the first mortal granted divine powers by the gods. You know I love it when you tell me mythic stories! It was as if there was a universal mould for every occasion. Wait; let me think about the story He would understand the language of birds and insects because it seemed that two serpents, grateful for a favor, licked his ears. The man had been sick since he was a young boy, ever since he had witnessed the sacrifice of two rams by his father, when he saw him walking holding a knife covered with blood.

That sight made Ificlus sick, but no one understood that, with the exception of the two birds of prey that witnessed the fact. He ran to get the old knife that was still stuck in the trunk of a tree and made Ificlus drink the rust formed by the blood of the ram, dissolved in a little water. Somehow, he had to get rid of that terrible image from his childhood, and perhaps the blood of the ram reminded him of that.

And what does Melampus have to do with Draconis? It was just to show you that Melampus was a doctor without knowing it. They got out of the car and started walking towards the escalators that were climbing inside the hill like a worm making its way upwards inside an apple. All around, they were surrounded by the tuff walls of the gallery, the color of toasted hazelnuts. The gallery was a steep climb, until it exited near Piazza Raineri. When they got off the escalators, the two turned to the right towards via Loggia dei Mercanti and when they stopped in front of the Piccolomini Hotel, they had to flatten against the wall to make room for a car with a powerful engine that was coming down the alleyway.

Markus was familiar with that car. I am happy to see you. And since city hall gave us the license, it would be very useful if you could write an article for your American editors. And the tourists would be very happy to know that here they could find the same food they eat in their own country! His small eyes hidden by the fat of his cheeks and his nose, flat above his swollen lips, made him truly grotesque. They said goodbye and as soon as the car was gone, Markus vented his disappointment: You even promised him you would write him an article?

But I did not tell him what I will write in the article! As they were paying for their snack, Josh heard someone calling him: Come sit with us for a little while! I find you very well. Looking towards the display case of the news vendor, Markus said: He said he is going to be at my house at six. We'll go there together. He motioned Markus who was approaching them. Then Angela turned to her mother saying: I will see you later, at home.

Matilde used to go to the cemetery every week. She would clean and shine up the marble slab that had been guarding the memory of Anselmo, hear husband, for over ten years. To her, that visit was a pleasurable break from her daily monotony and after having taken care of the flowers, changed the water and washed the marble, she would sit on the stool she brought from home, and chat peacefully with Anselmo's smiling picture. At the village, nothing new, except the seasonal tourists are coming and at least there is someone on the road.

Fausto and Teresa are here too, and they say hello. I have always taken care of them you know, just like you used to do, and I remembered that in November you prune only the stems that didn't bloom during the season, leaving only the flowers dry on the other stems. Next spring you will have hydrangeas as large as watermelons! The lavender bush has grown a lot too. This time though, I am going to take all the branches off and make them into scented laundry baskets like my mother used to do when she was alive.

She told me that after the summer, Giovanna and she are going to city hall to convince them to put Paola Stoppa, that poor soul, in an institution, while Ughino is taken care of. Life was unkind to her since her birth, but now Ughino needs a normal life with a normal family. He needs someone to take care of him. This is another one of her lunacies: Did you know she comes on foot from Sugano? She never takes the bus and the road is very long! She was holding a bunch of small wild flowers she had likely picked up along the way and from time to time, she would put one in the vases of the loculus.

What are you saying? We give her wine, anytime she wants it! In the meantime, Paola seemed happy with her visit and she started moving towards the exit of the cemetery, lazily dragging her feet on the stone pavement. When she reached the large entrance gate, she turned towards the tombs one more time and observed them, turning her head from right to left in a collegiate greeting and exited towards the road. From the back seat, Angela pointed to the woman and said: He then stopped in an open space. Markus got out of the car and moved towards the woman. Then, running, he caught up with her.

After they left, Josh asked: Do you have someone there? Markus helped the woman get out of the car and accompanied her inside. On the way home, Josh — deep in thoughts — could only say: He was trying to shoot a basketball, but he was probably too short for that. He waved cheerfully to all of them and Josh stopped the jeep. I am going in, have fun and Ughino placed the ball on the ground, tucked his shirt inside his pants and said: As soon as they reached the highway, they crossed it, entering an alley in the front that ran along the perimeter of a thicket.

The other side of the road was delimited by grassy fields that sloped along the side of the hill; the grass was very tall and, for the most part, dry. We have to leave our bicycles next to the large oak tree. Then, they had left, for they thought they heard some steps coming down the stairs. Markus remembered that day well, because it was very cold and on the way back home it had started to rain cats and dogs. They arrived in the vicinity of the turn to the inside of the wooded area. The pair on the tricycle was moving slower and at every pothole Ughino would jump really high, almost falling to the ground.

She was standing by the road, looking in the direction of a tree. We almost hit you! She turned towards them, her mouth open and in disbelief, pointing to the tree. It was standing still in the middle of the road and would not move Then it opened his mouth and I thought it was about to speak! It had an acorn in its paw and Then it retreated to the tree Markus bent down and grabbed an acorn in his hand. Suddenly acorns began to pour from the tree, hitting the children from up high, nonstop, as a thick hailstorm.

As they stopped, Angela slid on the leaves and fell right next to the trunk of the big chestnut tree. Angela was sitting on the ground, looking up high towards the top of the trees, in all directions. But what was wrong with those squirrels? It would have been impossible to use the bicycles. Unexpected notes, from very heavy to very light acute trills, the notes floated through the vegetation, to the ears of the children. Two small bushes of red berries, like bony, bleeding hands marked the entrance to the garden.

The three crossed the threshold of the fence, and found themselves in the green area in front of the house. The house seemed abandoned, as did everything else around it. In the middle of the area in front of the house, there was an old well made of rock stone, which brightly stood out against the green. Angela and Markus kept approaching the front door of the house cautiously, when they realized that Ughino was moving towards the well.

I want to see. You could not see the bottom, but along the side there was a long metallic ladder hooked onto a border stone. I thought there was some one Markus, was this here when we were here before? I remember it very well. Markus, you go ahead. Markus looked at his friends, sighed and lifted his hand to knock. He knocked three times. The music stopped immediately and a cat meowed. The children heard noises of chairs and moved objects coming from the first floor, along with heavy steps on a wooden ladder and a muffled grumble.

In the meantime, the cat must have reached the door, because the meows sounded much closer now and the steps were becoming heavier and sounder. The door snapped open, quickly, causing the three children to jump backwards. In his hands, he was holding a long wondrous clarinet made of ebony. He was holding it like a club and between his feet— in a pair of leather sandals — standing upright, a grey cat with velvety hair was observing them annoyingly. There are many doctors around.

He then turned towards the door and walked into the house, slamming the door. As he was climbing the stairs, you could hear him mumble: It was hard to tell whether Ughino was more frightened or disappointed after the short meeting. He stayed on the side, staring at the closed door, without saying a word. Angela put her arm on his shoulders, pulling him back towards the garden.

He then started walking behind his friends, his gaze to the ground, while the sky was turning red and the nocturnal animals lazily began to yawn and wake up. After midnight, the sky filled with a multitude of stars and even the smallest ones were visible to the naked eye, from the hills that were void of the luminous shine of the metropolis. You could also hear better. You could hear noises that during the day were hidden in the neglected acoustic background: But for Ughino, that was not a peaceful night.

He kept turning in his bed over and over again, jabbering words during his agitated sleep, while thinking back to the images of a cold rusty ladder, down the bottom of a well. A continuous metallic noise resonated in his ears, caused perhaps by an object hitting the steps of the ladder. In his sleep, he thought that was caused by the heel of a shoe, hitting an iron pole. He forced himself to open his eyes and in the darkness of the room, he looked up high towards the small open window that overlooked a small vegetable garden behind the house.

The light of the moon lit the window panes, which were protected by metallic grids. In the square of light projected on the wall, Ughino noticed a large shadow that was knocking lightly on the metal grid. The boy turned on the light on his night table and a faint soft light lit up the bluish walls of the room. Rubbing his eyes, he directed his attention to the small window, now able to see clearly what was happening. A large barn owl stood upright on the sill, hitting the metallic grid with its beak. The animal appeared proud and composed, as if taking pleasure in his wonderful attire illuminated by the moon.

The light of the moon, in fact, made the whiteness of his facial feathers shaped like a heart really stand out. Ughino loved all the animals in the countryside and the presence of the night bird truly did not bother him. The only thing that bothered him was the fact that the animal had woken him up, by hitting his beak on the grid. He had seen other barn owls during his summer nights on the hills, but that was unusually large.

I am tired of hitting my beak against the grid; it was beginning to hurt! The barn owl had spoken! His voice was similar to that of an unexpectedly disappointed old grouch. Ughino then got out of his bed and said: Come closer and listen to me. The barn owl continued: They are waiting for you there with all the instructions. I was dreaming of an iron ladder that was going down into But why do I have to go down there? I am a little scared. I have no time to waste. If you want to help your mother, go down the stair in the well and you will realize that it is not dangerous.

That said, I bid you farewell. Slowly the boy sat at the side of the bed. Should he go down the metal stair? On the other side of the coin, how could he trust a night bird that spoke like an ill-tempered old man? A grey feather was right next to the grid. Would anybody ever believe him? He had to go. It was a lucky break he was allowed to bring Markus and Angela along. Without them, it would have been a real problem. Yes, it was still night, but who could have slept after that encounter?

Ughino looked at his old alarm clock on the night table. It was three in the morning. He grabbed his pants and shirt off the chair and got dressed in a hurry, silently. He pushed the door aside lightly, but in the semidarkness of the moonlight through the window, he saw an empty bed! Yet, he remembered he had wished her good night, the night before and that she was already in bed. Maybe the barn owl had woken her up and she had gone into the kitchen to get a drink of water.

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The house, however, was immersed in darkness. He went into the small kitchen and turned the light on. As he was turning around, he thought he heard a soft noise coming from behind. He turned just in time to protect his head. Paola, from behind, lowered the bottle she was holding on the head of her son with all her might. She let an angry cry escape. Ughino jumped to the side to avoid the woman. Luckily, the boy was so agile that he managed not to get hit.

While he was jumping around, he grabbed a towel and wrapped his bleeding hand in it. Go away, you and your snakes! There was no other choice: Ughino then ran out of the door, climbing the stairs that were leading to the road. As soon as he got outside, he jumped on his delivery bicycle and started to pedal with all his might. He pedaled and cried.

He cried and sobbed. His bicycle, though, knew the way. Servo Inutile General field: E' un riflesso al " saeculorum " finale. Frutto delle preghiere dell'infanzia. Fin da bambino infatti, ho scorazzato nella chiesa di fronte alla mia casa. Una chiesa povera, austera come i suoi servitori. Burberi e severi frati Francescani Cappuccini. Quelli con la barba per intenderci.

Ed ora sono qui. Se non osservassi l'orologio, uno Swatch da pochi soldi; un regalo delle mie figlie: Mi guardo intorno ed incrocio il volto dei colleghi. Nei loro occhi la medesima domanda: Vorrei poter sospendere tutto. Io non ho colpe. Ma rimango e in silenzio, mi rivolgo ai miei Santi. A San Giuseppe mio patrono. A San Giovanni della Croce di cui avevo un'immaginetta bellissima.

A Santa Bernardetta che non posso dimenticare. Alla Madonna di sale che aveva mia nonna e che baciavo tutte le sere prima di andare a letto. Salvate, salvate la mia anima. Non potevi trovare una scusa? Bastava dire che non ti sentivi all'altezza. Bastava poco per non essere qui, cretino! Una paura atavica, ancestrale. Tutto quello che la mia formazione culturale non ammette. Anni di studi, anni di materie astruse come fisiologia, anatomia, patologia che impediscono di riconoscere quello che la fede non ha mai messo in dubbio.

Rivolgo gli occhi a padre xxxy e tutto si placa. E' la sua voce che calma tutto. E una grande pace mi prende. La mia gola articola in silenzio: Sono venuto con il pellegrinaggio che la mia Diocesi organizza ogni anno. Un viaggio in treno di millecinquecento chilometri, un convoglio di ventiquattro carrozze per ottocento pellegrini; una bolgia pazzesca. E' la quinta volta che vengo con loro ma prima, per altre tre volte, da giovane, con un gruppo di amici, sono stato in questo posto. Mi si permetta, anche se potrebbe suonare blasfemo, di far riferimento alla mitologia. Ad Omero in particolare.

Al canto delle sirene che irretiscono Ulisse. E' come se ci fosse un richiamo. Del consumismo sfrenato che circonda l'area sacra. Molti osservano di non aver visto nulla di particolare. Tanti sorridono ricordando le innumerevoli e variegate manifestazioni della fede popolare. Troppe persone sono ritornate da Lourdes a mani vuote. Era sufficiente leggere, prima di partire, il Vangelo di Matteo. E' questo quello che succede a Lourdes.

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A Lourdes quelli che sono ciechi nella fede: Quelli che zoppicano nella fede: Quelli che hanno una fede macchiata, piagata: Quelli che sono sordi al richiamo della fede: Quelli che sono morti nella loro fede: A tutti quelli che ascoltano: Caricare, senza disturbare alcuno, il mio tasso di nicotina nel sangue. Stavo appunto tirando a pieni polmoni che ti vedo arrivare costui. Avrei compreso in seguito l'importanza che quest'ultima rivestiva per lui. Posso fare una domanda? Il tono nasale e stentato mi fece subito capire che si trattava di un francese. Il vestito scuro, accompagnato da una camicia grigia, ed in particolare la piccola croce sul risvolto della giacca mi fecero pensare che fosse un sacerdote.

Stavo per raccogliere nella mente una splendida risposta nella sua lingua che tra parentesi, amo tanto, quando lui mi precedette nuovamente. Non mi meravigliai per la sua perspicacia dato che indossavo un camice bianco e un fonendoscopio mi usciva di tasca. Avrei sempre potuto rifiutarmi in seguito, una volta conosciute le problematiche. Chiesi di che cosa si trattasse per potermi organizzare con eventuali sussidi terapeutici. Un prete, un malato, gli psichiatri. Stavo per dire che del paragrafo sulle ossessioni avevo studiato solo il titolo quando lui riprese: Quella sera, a cena, non stavo nella pelle.

Non mi seppi trattenere e parlai con due miei colleghi di quello che mi era successo. Anche loro convennero sull'importanza di quell'esperienza. Nessuno di noi aveva mai assistito ad un esorcismo, se di questo forse si trattava. Si, malati psichiatrici ne avevamo visti anche noi ma nessuno che avesse manifestato qualche tipo di possessione.

Avrei ringraziato in seguito per la loro presenza. Il giorno dopo, oggi, ci siamo trovati tutti e tre puntuali all'appuntamento. Il prete, padre xxxy ci aspettava assieme ad una suora. Nell'attesa che venga il malato, che ora sappiamo essere una malata, il padre ci spiega tutto quello che dobbiamo fare, quello che possiamo e quello che non dobbiamo fare. Mettetevi poi ai lati del malato.

Non correrete alcun pericolo se vi atterrete a questi consigli. E questa sarebbe l'indemoniata? Vengo distolto dalla sua presentazione. So che siete preoccupati ma Io non ho mai fatto male a nessuno. E ci vorrebbe che questo simpatico criceto, possa farmi male! Hai dormito troppo poco. Il sacerdote si avvicina e saluta la ragazza. Strano, osservo, il prete non le ha dato la mano. La ragazza mi squadra e poi mi strizza l'occhio. Si china verso di me e sussurra: Sai, sono tre mesi che mi vede, due volte alla settimana. Qui non ci siamo! Mi sa che sto sbagliando tutto.

Quando parla di Babilonia. Dopo, sono stata benissimo. Ma di cosa sta parlando? Quasi quasi me ne vado. Ad un cenno del padre lo seguiamo nella sacrestia. La ragazza viene mandata avanti, nella chiesa e il prete si rivolge a me. Dopo entriamo anche noi nella chiesa. E' una chiesa a navata unica. Con il soffitto in legno sorretto da architravi.

Due file di panche sono separate da uno spazio, lungo fino in fondo. Le panche sono di legno, leggere e facilmente spostabili. Ci avviciniamo e il sacerdote ci indica i posti. Io mi siedo alla destra della ragazza. I miei due colleghi, uno a sinistra e uno dietro. Il prete si sposta di lato, a quasi due metri ed inizia la vestizione.

Mentre ci guardiamo l'un l'altro, la suora sta armeggiando alle finestre. Ad una ad una le chiude e le spranga. Poi va alla porta da cui siamo entrati e la chiude a doppia mandata. Torno a guardare i colleghi e leggo nei loro occhi la stessa voglia di fuga. Di traverso, vedo la ragazza sorridere mentre si segna. Poi la voce lenta di padre xxxy ci raggiunge. Il suo latino fa compiere alla mia mente un balzo di trent'anni ed io entro nel coro dei frati. Rispondiamo sperando che il Signore non consideri gli errori di latino. Segue, sempre in latino la preghiera del Padre Nostro e una decina di Avemarie.

La ragazza, che osservo, prega sottovoce e ad un tratto appoggia la sua mano destra sulla mia gamba. Non solo appoggia ma prende quasi, con forza. Sta facendo altrettanto con la gamba del mio collega. Noi ci guardiamo in silenzio. Finite le preghiere iniziali il sacerdote prende il cestello dell'acqua santa con l'intenzione di aspergerci.

Le gocce arrivano sui corpi e le mani della ragazza cominciano ad artigliare le cosce. Spontaneamente, prendiamo con le mani le sue braccia. Il collega parla il linguaggio dei muti, articolando la mascella. Poi il padre apre la Bibbia, sul fondo e comincia a leggere. Veniva dal profondo della gola. A questo punto i gemiti della ragazza si traformarono in un pianto dirotto.

Un pianto che non avevo mai udito. Straziante come se avesse subito una perdita irreparabile. Nella mia vita ho pianto molte volte ed ho udito, anche a seguito della mia professione, molte persone piangere. Le usciva dalla gola un ruggito tremendo, profondo e allo stesso tempo acuto. Lo alternava a tratti con bestemmie rabbiose all'indirizzo della Madre di Dio.

Con movimenti alternati in avanti e in dietro cercava di liberarsi dalle nostre prese. Ci spinse tutti e tre improvvisamente e quello dietro rimase incastrato tra le due panche. Per fortuna la persona amica ci venne subito in aiuto altrimenti avremmo dovuto lasciarla. E questo era assolutamente da evitare secondo quanto ci aveva detto il prete. Come in un ballo assurdo giravamo per la chiesa, sempre trattenendola. Il suo unico scopo, per quanto mi parve di capire, era quello di raggiungere il sacerdote. Non volevo pensare a quello che avrebbe potuto fare se lo avesse preso. A tratti, oserei dire per grazia di Dio, perdeva improvvisamente le forze e allora la lasciavamo scivolare a terra.

Tutta rannicchiata, cominciava allora a tossire. Una tosse canina, insopportabile all'udito. Poi seguiva il vomito. Durante questo periodo, in due occasioni, mentre la ragazza era particolarmente debilitata, il sacerdote facendosi aiutare da noi, la ungeva con l'olio santo. In questi momenti lei diventava come una furia. Dopo, quando la ragazza e la persona amica se ne erano andate io parlai con padre xxxy. Le guarigioni del corpo sono bellissime ma le guarigioni dell'anima non sono definibili tanto sono belle agli occhi di Dio. Sapessi quante vengono a cercarmi. Ogni settimana ne vedo quasi una decina.

Si ritrasse come se l'avessi colpito. Quando la vidi per la prima volta le dissi che non potevo fidarmi della sua parola. Che dovevo, come un medico, vedere con i miei occhi. Andai allora al tabernacolo, indossai la stola e simulati i riti tornai con un'ostia non consacrata, solo un piccolo pezzo di pane. Poi la guardai e lei era stupita. La ragazza era decisamente preoccupata ed allora le chiesi se voleva riprovare. Non posso prendere l'Eucaristia due volte lo stesso giorno. Compresi subito che conosceva le regole e allora incalzai dicendo: Presi tra le mani l'ostia consacrata e avvicinatomi feci per metterla nella sua bocca.