Mantis 19 (Spring 2021)
Multilingualism

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Camilla Marchisotti

Photograph

Summer 2019. A human wave filled a majestic square
with anger, furious against some eastern European regime.
A single photograph was not big enough to hold them in.
A bomb exploded in a well-known Arab capital:
a thousand real houses made of stones, once inhabited
by real people made of bones, were suddenly reduced to non-existence.
As pictures show, there wasn’t anything left to photograph.

Summer 2019. I got stung by a jellyfish
while swimming across the gulf.
The burn is minuscule: and yet
it stings, and stings


Prophecy

a gesture - a word - a dress - a death
a Romanian girl sunbathing with a turban
covering her head.
a language covering her thoughts,
her mother cleaning houses
for those who now swim absentmindedly
in the adjacent private beach.
it is enough. a gesture. she eats chunks of sweet pineapple
straight from a plastic cup
fingers of juice and sand tracing a twisted map.
on my side, a word / on hers, a word she could not
grasp
both covered by lousy ambient music
coming from the impermeable beach -
so that it all remains unclear, unlived
within her turban.
unawareness, loss, desire: dripping bleach
-and then just salt,
after all the water will have vanished
from the sea, this giant plastic cup


A House

she wants to buy a house, she says, but not
with me, to live in it. In fact, it’s quite
the opposite of sharing that she’s after.
she wants to buy a house against me
a shield of bricks embedded in a mental forest,
remote, unwelcoming, the epitome
of separation. an island in an island,
somewhere so far away there’d be
no train, no bike, no car, no boat
no human way to reach it.
no need to furnish it, as well,
as it would serve its purposes devoid.
it is, perhaps, too big a name, a house. a space
with walls. she would just be there,
with her forehead resting on the coldness
of the floor, eyes closed, pretending I do not
exist, not anywhere, not anymore,
taking an incommensurable pleasure
in exploring such a thought. she’d fill
all rooms with it - my non-existence -
perfectly inhabiting the idea of my extinction
making herself comfortable
in the spacious notion of my absence,
as if it were a bed, a crib, an armchair.
only then, she says, would she allow herself to call
and be bewildered by an almost tactile,
physical experience: that of my voice,
still coming through:
                                       «hello? »


Tennis

He’s still sticky from the game, and jumpy, too
after one too many arguments aborted on the tennis court.
Being sweaty always felt like having
too much of himself on himself, which is precisely
the opposite of his desire, so that he gets
no real sense of liberation from that daily exercise.
He does it for the journey back, a bus that takes him
to his temporary home, a rented flat,
all nestled up against the nearest fishers’ village.
Like a snake returning on its curvy footsteps
the bus traces a line between the mountains / on the right
and the seaside / on the left. If he manages to gather
enough focus, he too becomes a line. It is magnificent.
That sudden metamorphosis into meaninglessness,
his body thinning towards disappearance, becoming
something like a moving stillness, while the dying
salmon-pink light encompasses the bay.
Much more effective and enjoyable than tennis.
That’s when it hits him in the face - a ball, a wave -
the unsustainability of things,
their violent separateness, his utter
inability to play.


CAMILLA MARCHISOTTI was born in Aosta, Italy, in 1993. She lives in Bologna, where she has recently gotten her MA degree in Italian Contemporary Literature. She teaches Latin, Italian Literature, History and Geography in a high school in Imola (BO) and in a correctional facility in Bologna. Some of her short stories have been published in Italian Literary magazines such as Colla, Carie, and Inutile. She occasionally writes articles for Minima & Moralia and Le parole e le cose. She writes (but usually does not publish) poems in Italian, English and French.