Emotive Secant [sample]

{ }THE HERITAGE OF THOUGHTS -2-FLIPBOOK SAMPLE

FLIPBOOK SAMPLE

FLIPBOOK SAMPLE Marco Stephen Tarabelloni SECANTE EMOTIVA EMOTIVE SECANT POESIE BILINGUE | BILINGUAL POEMS “…you’re breaking me in two!”

Secante EmotivaUn libro Lupy Publishing / A Lupy Publishing BookPubblicato e distribuito con licenza da / Published and Distributed under license by:Lulu Press, Inc.3101 Hillsborough St.Raleigh, NC 27607 USAPubblicazioni acquistabili online / All publications may be purchased online:www.lulu.comwww.amazon.comwww.barnesandnoble.comFLIPBOOK SAMPLE Copyright © 1983-2015 by Marco S. Tarabelloni.Tutti i Diritti Riservati. Nessuna parte di questo libro può essere riprodotta, duplicata, memorizzata otrasmessa in qualunque forma o tramite qualsiasi mezzo, elettronico, meccanico, di fotocopiatura, regi-strazione o altro senza previa autorizzazione scritta.All Rights Reserved. This book or any portion thereof may not be reproduced, stored in a retrievalsystem, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording,or otherwise, without prior written permission.Prima Edizione (Bilingue italiano/inglese): Aprile 2015First Edition (Bilingual Italian/English): April 2015Stampato in Francia Printed in France24 23 22 21 20 19 18 17 16 15 1 2 3 4 5ISBN: 978-1-326-22038-9 (rigida con sovraccoperta | hbk w/ jacket)ISBN: 978-1-326-22052-5 (brossura | pbk)ISBN: 978-1-326-22053-2 (e-book)A cura di / Editor: M. TsoukalàsPrefazione e note biografiche di / Preface and biographical notes by: M. TsoukalàsIllustrazioni di / Illustrations by: M. S. TarabelloniImpostazione Grafica di / Graphic Layout & Design by: “LYKOS | LOOPS”Copertina (rielaborazione digitale) / Cover Art (digital processing):“Secante Emotiva - Crayon” (1983) di/ by M. S. TarabelloniRiferimenti di catalogazione sono disponibili presso The British LibraryA CIP record for this book is available from The British Library 6

FLIPBOOK SAMPLE Emotive Secant Στην Αγάπη Μου Μιχαήλ 7

Secante Emotiva qqqFLIPBOOK SAMPLE 8

FLIPBOOK SAMPLEContents Emotive Secant INDICE 3 5 CONTENTS 6 7 COLLANA 9 SERIES ������������ 14 17 TITOLO 35 TITLE ������������ DIRITTI COPYRIGHT ������������ DEDICA DEDICATION ������������ INDICE CONTENTS ������������ ILLUSTRAZIONI ILLUSTRATIONS ������������ PREFAZIONE PREFACE ������������ INTRODUZIONE INTRODUCTION ������������ ⏪ 9⏩

FLIPBOOK SAMPLESecante Emotiva Indice CANTO I 51 LIRICHE ESOTERICHE ESOTERIC LYRIC ������������ 52 53 ⌕ VACANZE PERSIANE 54 ⌕ PERSIAN VACATION 55 ⌕ ISOMORFISMI 56 ⌕ ISOMORPHISMS 57 ⌕ PASSAGGI AL LIMITE 58 ⌕ PASSAGES TO THE LIMIT 59 ⌕ PELLICOLE 60 ⌕ SNAPSHOTS 61 ⌕ 300 PARSEC 62 ⌕ 300 PARSECS 64 ⌕ MONOIDI 66 ⌕ MONOIDS 67 ⌕ MORFOGENESI (CONTUMELIE E CIAMBELLE) 68 ⌕ MORPHOGENESIS (CONTUMELIES & DONUTS) 69 ⌕ BRUCIA! 70 ⌕ BURN! 71 ⌕ PRENDO FUOCO! 72 ⌕ GOT BURNT! 74 ⌕ 4000–8000 Å INTERDETTO 76 ⌕ 4000–8000 Å INTERDICTION 77 ⌕ SPAZIALITÀ NEGATE 78 ⌕ REFUSED SPATIALITIES 79 ⌕ AFASIA DIMENSIONALE ⌕ DIMENSIONAL APHASIA ⏩ ⏪ 10

FLIPBOOK SAMPLEContents Emotive Secant CANTO II 81 LIRICHE ENTERICHE ENTERIC LYRIC ������������ 82 83 ⌕ LE GIOIE DELLA VITA 84 ⌕ JOYS OF LIFE 85 ⌕ PENITENZE 86 ⌕ PENANCES 87 ⌕ DOLENTI DECLINARE… 88 ⌕ REGRETFULLY, RETURNING… 89 ⌕ NON STO PIÙ NELLA PELLE 90 ⌕ HELL-OF-LEATHER 91 ⌕ I PETTIROSSI 92 ⌕ REDBREASTS 93 ⌕ LA SEMINA 94 ⌕ SOWING TIME 95 ⌕ HAIKU 96 ⌕ HAIKU 97 ⌕ LECOLLINE 98 ⌕ HILLS 99 ⌕ IPOTESI 100 ⌕ HYPOTHESIS 101 ⌕ AGOSTO 102 ⌕ AUGUST 103 ⌕ VISIONI 104 ⌕ VISIONS 105 ⌕ LA BRINA ⌕ HOARFROST ⏩ ⏪ 11

FLIPBOOK SAMPLESecante Emotiva Indice CANTO III 107 LIRICHE ENDEMICHE ENDEMIC LYRICS ������������ 108 109 ⌕ INCUBO 110 ⌕ NIGHTMARE 112 ⌕ SENZA COMANDANTE 114 ⌕ WITHOUT COMMANDER 115 ⌕ GENERAZIONE 116 ⌕ GÉNÉRATION 118 ⌕ VIENS ICI ⌕ VIENS ICI 121 CANTO IV 122 LIRICHE ESSOTERICHE 124 EXOTERIC LYRIC ������������ 126 128 ⌕ DISPLACEMENTS 130 ⌕ DISPLACEMENTS 131 ⌕ VEDO IL BARATRO 132 ⌕ I FEEL THE PRECIPICE 134 ⌕ OGNI ISTANTE 136 ⌕ EVERY MOMENT 138 ⌕ 3 APRILE 1989 140 ⌕ APRIL 3, 1989 141 ⌕ ERRAVANO LE MIE MANI 142 ⌕ WANDERINGHANDS 143 ⌕ LILANDT 144 ⌕ LILANDT ⌕ IL MIELE DEI TUOI SGUARDI ⏩ ⌕ YOUR SMILE OF HONEY GOLD ⌕ GENIO SENTIMENTALE ⏪ 12

FLIPBOOK SAMPLEContents Emotive Secant⌕ SENTIMENTAL GENIUS 145⌕ ATTIMIFATTI D’ATTESA 146⌕ MOMENTS MADE OF LONG WAIT 147ADDENDUM 149DE FRANCHINIS COMEDIATHE FRANCHINI’S COMEDY ������������ 150 154⌕ PRELUDIO 158⌕ PRELUDE 160⌕ INTERLUDIO 162⌕ INTERLUDE 165⌕ FINALE⌕ FINALE 169NOTE BIOGRAFICHE 175BIOGRAPHICAL NOTES ������������ 178INDICE ANALITICOINDEX ������������COLOFONECOLOPHON ������������⏪ 13 ⏩

Secante Emotiva Illustrazioni ILLUSTRAZIONI ILLUSTRATIONSFLIPBOOK SAMPLEFRONTESPIZIOFRONTISPIECE “RINOPLASTICA LEONARDESCA” (2015) STAMPA AD INCISIONE (DIGITALE) DI “FIRENZE, LUGLIO 83” (1983) RITRATTO A CHINA, ENTRAMBI DELL’AUTORE “LEONARDESQUE NOSE JOB” (2015) ENGRAVING ART PRINT (DIGITAL) OF “FLORENCE JULY 83” (1983) PEN-AND-INK PORTRAIT, BOTH BY AUTHOR ������������ 4DISEGNI 5DRAWINGS 51 “STUDIO PER SECANTE EMOTIVA” (1983) SCHIZZO A MATITA 81 DELL’AUTORE “STUDY FOR EMOTIVE SECANT” (1983) PENCIL SKETCH BY AUTHOR ������������ COMPUTER GRAFICA D’INIZIO CAPITOLO (2015) DELL’AUTORE: CHAPTER TITLE PAGE CLIP ART (2015) BY AUTHOR: “TETRAKTYS” ������������ “SPIRALE RETTANGOLARE” / “SPIRAL IN RECTANGLES” ������������⏪ 14 ⏩

Illustrations Emotive Secant“ALBERO PITAGORICO” / “PYTHAGOREAN TREE” ������������ 107“PENTADE” / “PENTAD” ������������ 121ACQUEFORTI (DIGITALI) SATIRICHE DELL’AUTORE (2015), ISPIRATE ALLE ILLU-STRAZIONI A PENNA DEL “136 AUC - NUMERO UNICO” (1990):SATIRICAL ETCHINGS (DIGITAL) BY AUTHOR (2015) BASED ON “136 AUC - NU-MERO UNICO” BALLPOINT PEN ILLUSTRATIONS (1990):FLIPBOOK SAMPLE“PISTILLO D'OGNI RAZZA” / “PISTIL FOR EVERY RACE” ������������ 123“AH NE' BEI GIORNI!” ������������ 151“AH HAPPY DAYS!” 155“DILETTO EUSEBIO” ������������ 152“BELOVED EUSEBIUS” ������������ 156“MAESTRO DI TROMBETTA” ������������ 159“MASTER OF THE TRUMPET” ������������ 161“PUTTO D’AGOSTINO” ������������ ������������ 163,166FOTOGRAFIEPHOTOGRAPHS“RITRATTO DELL’AUTORE” (1996), SCATTO DA SERVIZIO PER “ITALYMODEL, MILANO” (B/N: GORMAN-HOLBERT) COPYRIGHT DELL’AUTORE.������������ 170“AUTHOR’S PORTRAIT” (1996), FROM A PHOTO SHOOT FOR “ITALY 171MODEL, MILAN” (B&W: GORMAN-HOLBERT) COPYRIGHT BY AUTHOR������������⏪ 15 ⏩

Secante Emotiva Illustrazioni“RITRATTO CON RAYBAN” (2009) RITRATTO DELL’AUTORE 172(B/N: GORMAN-HOLBERT), COPYRIGHT DELL’AUTORE 173������������“PORTRAIT WITH RAYBANS” (2009) AUTHOR’S PORTRAIT(B&W: GORMAN-HOLBERT), COPYRIGHT BY AUTHOR������������FLIPBOOK SAMPLE⏪ 16 ⏩

Emotive SecantPREFAZIONE PREFACEFLIPBOOK SAMPLE⏪ 17 ⏩

Secante Emotiva qqqFLIPBOOK SAMPLE 18

Preface Emotive Secant f PREFACEFLIPBOOK SAMPLEI n his early artistic production, our Author had already used the title “Emotive Secant” for one of his adolescent paintings au trois crayons, in which a glass plate is in the act of cutting in two the head of a resigned dummy medita-tively hunched over a pile of books and placed in front of a DeChirico–style background.Apparently, the Artist has a great affection for this portrait: he'sinseparable from it. There’s a clear reference, as much geomet-rical as psychological: the sentiment (or the fear) of feeling splitin two, as result of a secant plane figuratively acting on his ownexistence.In fact, in this lyric poetry collection everything recalls a dichot-omy and the Author’s act of overcoming it in a synthesis whichleads to a new identity. On a communication level: any content is simultaneously available in Italian and English, and all poems are natively created in both languages.⏪ 27 ⏩

Emotive Secant PrefaceFLIPBOOK SAMPLE Regarding his language and narrative register: formal vs. in- formal; rational vs. irrational; technical vs. literary; “in appar- ent seriousness” vs. humorous.  In selecting the content: relational vs. intimate; public vs. pri- vate; hatred vs. loving; extemporaneous vs. reflexive; “couldn’t-care-less attitude” vs. “how much it hurts.” Just by analyzing the titles of each typographical section, we can see an emergent dualism, and the chapters (with a taste for pas- tiche) are obviously named Canti. The first Canto is addressed to an external audience, as in the an- cient Pythagorean School. It is as if the Author showed us the en- tertainment value of this part: he makes great use of creative writ- ing, nonsense narration, or he mimics the style of some Petrar- chan and Foscolian sonnets. Whereas, if you prefer a short epic poem in the style of Dante's Inferno (with some foul-mouthed content, as in The Carnal Circle) then you won't miss the Adden- dum at the end of the book. The Nonsense Verse tries to defy language conventions or logical reasoning. The nonsense effect arises through an excess of mean- ing, rather than a lack of it, and the humor comes intrinsically. Some lexical meaning facilitators are counterbalanced by ele- ments that negate significance. ⏪ 28 ⏩

Preface Emotive SecantFLIPBOOK SAMPLEThese formal characteristics include semantics, syntax, phonetics, contextualization, and diction. Poems in the first Canto make a full use of nonsense techniques: faulty cause and effect, neologisms, reversals and inversions, im- precision, arbitrariness, repetition, mirroring, tautology, redupli- cation, and absurd. Moving further on, the adjective used for the second Canto, “en- teric”, sounds almost like a warning for potential adverse effects concerning the intestine rather than the risorius muscle. Com- posed at a younger age, these early poems remind of some surreal humor typically found in most Surrealist Poetry… and the chapter title shares the same style! Indeed, the Surreal Humor has roots in Surrealism. It’s a form of humor based on deliberate violations of causal reasoning; it pro- duces events and behaviors that are obviously illogical. Construc- tions tend to involve bizarre juxtapositions, non-sequitur, and ir- rational or absurd situations. The reader’s amusement is founded on narrative unpredictability, which derives from describing ri- diculous facts or unlikely to happen. The main surrealist poetic method has probably been the so- called Automatic Poetry: a set of techniques predicated on auto- matic criteria for composing verses (see works by W. B. Yeats).⏪ 29 ⏩

Emotive Secant PrefaceThe Cut-up technique is another method: a text is randomlypulled to pieces and rearranged to create a new one. I guess bothapproaches were used by our Author in his early poems.Nevertheless, most allusions to artistic-literary movements do notrepresent other than influences: in his pages the Author remainspersonal and original with a style that sincerely unites differences.For this purpose, specific references of his Italian education canbe perceived in the first two Canti:FLIPBOOK SAMPLE using a form of onomatopoeia trying to catch the motion of the soul; capturing the essence of reality by creating an analogical link between seemingly unrelated objects; brushing away the top layer of conventional traditions to re- veal a surprising reality and cause a sort of Stupefaction on readers; employing a concise lyricism to better provide extreme con- trasting analogies relied on “free verse” as poetical vehicle.There’s a heck of Italian Futurism in it!⏪ 30 ⏩

Preface Emotive SecantFLIPBOOK SAMPLEThe third Canto might target a specific “population”: the rock music audience, of course. The Author was not immune to any stylistic influence from the Italian “Rock Demenziale” (named against the rock band “Skiantos”) or the Anglo-Saxon “Comedy Rock”: two similar phenomena that sprung from punk rock and later student protests, with a common practice of using extremely humorous and surreal song lyrics. Our Author makes an ironic use of techniques such as calembour based on polysemy and homonymy ‒ plus greatly open to multi- lingual approach. It reminds of some creative language found on the Italian side: in fact, on the Anglophone front the bands were engaged in habitual profanity. Besides, the latter used to perform in pure parodistic theatrical style… though, some concert chroni- cles refer that the Author’s band (in which he was the front man) used to perform in a Bjork-style rather than à la Frank Zappa! Following the Pythagorean juxtaposition, the final Canto invites us into a more intimate world, more initiate, more personal, and more “sensible”, in which the Author lays bare his soul in front of a mix of “horror and sublime” and “spleen et idéal” in the man- ner of Baudelaire’s decadence. Covering over six years of artistic production, from adolescence to adulthood, this last chapter conveys a true impression of emo- tions, thoughts, reflections, expectations, disillusions, and pas- sions of a “coming of age.” ⏪ 31 ⏩

Emotive Secant PrefaceFLIPBOOK SAMPLEWell of course, there’s nothing new under the sun: some diluted confusions of a young Törless plus some bitter tears of Petra von Kant! He mixes suffering and harsh realities of growing up with some Ionesco-style: yes, this is what might be considered Absur- dist Literature. It focuses on situations where it seems not possi- ble to find any inherent purpose in life and most often represented by meaningless actions and events. It revolves around typical existentialist questions concerning Truth and Values. In the more intimate pieces and generally all over the entire col- lection, our Author includes some elements of satire and dark humor regarding the incongruous condition of being human – with traces of some nihilistic agnosticism. Nevertheless, he has the unique ability of entertaining and making people think through his art:  echoic verses, getting stuck in your head like commercial jingles;  enigmatic passages, always leaving you in doubt that maybe there is much more to be understood; ⏪ 32 ⏩

Preface Emotive Secant nonsense lines, leaving you under the impression that, if followed literally, they might give you some tips to solve your issues; poems hurling insults, full of suffering, joy, and love, lines capable to put a smile on your face or with which you might sympathize, as they bring back sweet memories from the past or give yourself a reality check.With a whole of 74 poems (plus 16 tercets of a short epic poem),Emotive Secant is a bilingual poetry collection completelytranslated and adapted by the Author himself drawing out hiscreativity in both languages.I’ve found the Poet’s feelings so palpable on the page, and theItalian and English versions of his poetry equally beautiful, in-spiring, and worthy of our humanity. The Editor Athens, October 2014FLIPBOOK SAMPLE⏪ 33 ⏩

FLIPBOOK SAMPLESecante Emotiva qqq 34

FLIPBOOK SAMPLE Emotive Secant INTRODUZIONE INTRODUCTION ⏪ 35 ⏩

Secante Emotiva qqqFLIPBOOK SAMPLE 36

Introduction Emotive Secant f INTRODUCTIONFLIPBOOK SAMPLEI n my High School senior year, I began writing a periodic column entitled “Emotive Secant” for “Asclepius”, a self- published student magazine whose staff members com- prised two of my best friends: a title dictated as much byrupture with the past as originality.Into a publication filled with linguistic experiments of SurrealisticPoetry and compelling Absurdist fiction (as a wondrously en-lightening adventure yarn of a homunculus living into a pressurecooker) I was introducing poems deliberately emotional and gro-tesque.Whether my urgency decided the “format” or my friend's pressuredid, my first poems resembled the Japanese haiku in Futurist styleor some concise examples of Automatic Poetry (cf. “Haiku” and“Hills”).Actually, it was then that I coded a Lisp-like piece of software toautomatically generate some combinatorial stanzas.Canto 2 contains part of this initial work.⏪ 43 ⏩

Emotive Secant Introductionlike a philosopher incapable of understanding the Riemann-Einstein's curvature of chronotope.I have some regrets for roads not taken and some atrocious re-morse for a couple of choices I made. But, going deep under thesurface of my verses, below the waterline of their absurd or pa-thetic semblance, I've found my everlasting ideas, values, uncer-tainties, and truths: only the way I look at things has changed…it's through the eyes of someone who feels deeply loved for years. M.S.T.FLIPBOOK SAMPLE⏪ 48 ⏩

FLIPBOOK SAMPLE Emotive Secant SECANTE EMOTIVA EMOTIVE SECANT 49

Emotive Secant Biographical Notesf BIOGRAPHICAL NOTESFLIPBOOK SAMPLEM arco Stephen Tarabelloni is an Italian/English bi- lingual Author born in Northern Italy. He has a MS in Computer Science and a MBA from the Politecnico di Milano, but his transitions into therole of a vocational artist have been recurrent: novels, poetry, ar-ticles, painting, and computer graphics. Driven by the motto, “There's no gap between Art and Science!” he be- lieves that both areas need a creative visionary approach about life wheth- er that comes to producing artworks or expanding knowledge. At the same time, he feels the beauty and the force of numbers that reso- nate in everything, especially in technological implementationswhich must play a role in artworks, since technology has becomean indispensable part of our lives.⏪ 172 ⏩

Biographical Notes Emotive SecantFLIPBOOK SAMPLEWhile his scientific, technical, and business consulting writings have been published (cf. Neural Networks Journal, Sistemi & Impresa Magazine, IlSole24ore Newspaper...) and his satire articles are available online (with the pen name Corrosive Blogger) his literary works, drawings, and paintings remained private. Actually, some of his earlier material issued on a student's magazine, and a first bilingual novel has been announced to be out soon, but no writings were ever released in form of a book. Selected poems and extracts appeared only in pamphlets and broadsheets (recently, through social networks) as souvenirs for friends and admirers. Emotive Secant is his first published poetry book. It's a bilingual edition completely translated and adapted by the Author himself, drawing out the poet's instinctive feeling, artistic sensitivity, and high level of creativity in both languages. The Editor Athens, October 2014 ⏪ 173 ⏩

Secante Emotiva qqqFLIPBOOK SAMPLE 174

Emotive SecantINDICE ANALITICO INDEXFLIPBOOK SAMPLE 0-9 D3 Aprile 1989.....................................132 De Franchinis Comedia300 Parsec ..........................................60 Preludio ...................................... 150300 Parsecs .........................................61 Interludio .................................... 1584000–8000 Å Interdetto .....................72 Finale .......................................... 1624000–8000 Å Interdiction ...................74 Dimensional Aphasia.......................... 79 A Displacements.................................. 122Afasia Dimensionale ...........................78 .................................. 124Agosto............................................... 100 Dolenti Declinare…............................. 86April 3, 1989......................................134Attimi Fatti d’Attesa..........................146 EAugust............................................... 101 Erravano le Mie Mani....................... 136 B Every Moment.................................. 131Brina, La ............................................104 FBrucia!................................................. 68Burn! ................................................... 69 Franchini’s Comedy, The Prelude ....................................... 154 C Interlude ..................................... 160 Finale .......................................... 165Colline, Le ...........................................96⏪ 175 ⏩

FLIPBOOK SAMPLESecante Emotiva Indice Analitico G Le Colline............................................ 96 Le Gioie Della Vita .............................. 82 Génération ........................................ 115 Lilandt .............................................. 140 Generazione...................................... 114 Genio Sentimentale ..........................144 .............................................. 141 Gioie Della Vita, Le..............................82 Got Burnt!...........................................71 M H Miele dei Tuoi Sguardi, Il.................. 142 Moments Made of Long Wait .......... 147 Haiku ................................................... 94 Monoidi.............................................. 62 ................................................... 95 Monoids ............................................. 64 Morfogenesi Hell-of-Leather.................................... 89 Hills .....................................................97 (Contumelie e Ciambelle) ............. 66 Hoarfrost........................................... 105 Morphogenesis Hypothesis ..........................................99 (Contumelies & Donuts) ............... 67 I N I Feel the Precipice............................128 I Pettirossi ...........................................90 Nightmare ........................................ 109 Il Miele dei Tuoi Sguardi ...................142 Non Sto Più nella Pelle ....................... 88 Incubo ............................................... 108 Ipotesi .................................................98 O Isomorfismi ......................................... 54 Isomorphisms .....................................55 Ogni Istante...................................... 130 J P Joys of Life ..........................................83 Passages to the Limit.......................... 57 Passaggi al Limite ............................... 56 L Pellicole .............................................. 58 Penances ............................................ 85 La Brina .............................................104 Penitenze ........................................... 84 La Semina............................................92 Persian Vacation ................................ 53 Pettirossi, I ......................................... 90 Prendo Fuoco!.................................... 70 ⏪ 176 ⏩

FLIPBOOK SAMPLEIndex Emotive Secant R Interlude ..................................... 160 Finale .......................................... 165Redbreasts ..........................................91Refused Spatialities.............................77 VRegretfully, Returning… ......................87 Vacanze Persiane ............................... 52 S Vedo il Baratro ................................. 126 Viens Ici ............................................ 116Semina, La...........................................92Sentimental Genius...........................145 ............................................. 118Senza Comandante ...........................110 Visioni............................................... 102Snapshots ...........................................59 Visions .............................................. 103Sowing Time .......................................93Spazialità Negate ................................76 W T Wandering Hands............................. 138 Without Commander ....................... 112The Franchini’s Comedy Prelude ........................................154 Y Your Smile of Honey Gold ................ 143⏪ 177 ⏩

Composizione grafica digitale di:FLIPBOOK SAMPLE Digital Typeset and Composed by: Lupy Publishing Bologna 40100 IT Pubblicato e Distribuito per conto di Lupy Publishing da: Published and Distributed on behalf of Lupy Publishing by: Lulu Press, Inc. Raleigh, NC 27607 USA Stampato e rilegato per conto di Lulu Press, Inc. da: Printed and Bound on behalf of Lulu Press, Inc. by: Jouve SA Mayenne, 53101 FRStampato in Francia - Printed in France