Buranello Robert - Angelinas Lips

ANGELINAS LIPS

PROSE SERIES 89

TRANSLATED BY ROBERT BURANELLO
EDITED BY MARK AXELROD

GUERNICA

Toronto Buffalo Lancaster (U.K.)

2011

Preface by Mark Axelrod

Angelinas Lips

I personaggi dei romanzi futuri

Afterword by Robert Buranello

The idea for creating the John Fowles Center for Creative Writing came to me while I was on a Leverhulme Fellowship at the University of East Anglia, Norwich, UK in 1996. While there, I met Christopher Bigsby who was the director of the Arthur Miller Centre for American Studies. It wasnt a centre as such since it was housed in Bigsbys office, but among other things the centre did was to invite a number of authors (local or otherwise as long as they were accessible by train) to come to UEA, read from their work and be interviewed by Bigsby. I thought the idea was engaging and, because of my long standing friendship with the late John Fowles, I asked him, while on a visit to Lyme Regis, if I could use his name and organize something similar at Chapman University, but devoted to creative writing. Anything for creative writing students, Fowles said, and, in 1997, I initiated the first series by inviting the Argentine novelist, Luisa Valenzuela.

The center has grown significantly since then and 2011 marks the fourteenth year for the John Fowles Center. Over those fourteen years, the center has hosted such notable inter/national authors as: Salman Rushdie, Nobel Laureate Wole Soyinka, David Antin, Fanny Howe, Carlos Fuentes, Maxine Hong Kingston, John Ashbery, Lawrence Ferlinghetti, Charles Bernstein, Willis Barnstone, Elias Khoury and a host of other accomplished writers. Sometimes the series was devoted to specific kinds of writers: Latin American writers or experimental writers or poets or Arab and Jewish writers. But, in 2009, I decided to devote the entire series to Italian writers or those of Italian heritage. I invited the ItalianAmerican novelist, Tony Ardizzone; the ItalianCanadian poet, Pasquale Verdicchio; and four Italian writers, Francesca Duranti, Dacia Maraini, Giorgio Pressburger, and, of course, Giuseppe Conte. I invited Conte based on the suggestion of a friend of mine who had read his work in Italian and, since the majority of the Italians I invited were writing prose, Contes poetry would strike a poetic balance. I read a copy of The Ocean and the Boy (Loceano e il ragazzo) and was not only struck by the effusiveness of Calvinos introductory praise for the book, but that the poems reflect how civilizations pay homage to the natural world which is at the forefront of all his lyricality. For Conte, man is inextricably connected to the earth.

After his arrival in Los Angeles, I picked him up at the Best Western Sunset Plaza Hotel located in West Hollywood and drove him back to Orange County. At the time, I didnt think much about the hotel though I recall the lobby and the architecture had a distinctly 40s kind of feel to it. Something Nathanael West may have thought about as he was writing Day of the Locust. As we drove back to Orange County, Conte complained about his English not being good enough to read his poetry and said he would feel more comfortable if he could read in Italian and have someone translate in English. My colleague at Chapman, Italianist Robert Buranello, was eager to do just that and, at the evening reading, Conte read brilliantly and Buranellos interpretation of the poetry was flawless. Subsequent to the reading, many of my students told me that Contes reading was one of the best if not the best of the entire Italian series and that the reading was one of the best they had heard of all the readings they had been to.

The day before Conte left, I drove him to Laguna Beach for a breakfast. Knowing his unmitigated love of nature and the sea, I thought that, perhaps, Laguna Beach might inspire him in some way. Of course, since he lives in Sanremo, it wasnt as if he were barren of natural inspiration, but I thought it would be a different kind of inspiration since Laguna Beach is unique in its own rather multifarious bourgeois way. We had a pleasant breakfast at the Caf Zinc and walked along the Laguna Beach boardwalk for about an hour discussing many things in general and nothing in particular. From my perspective, it didnt seem as if Conte were that impressed with Laguna Beach and its natives. It wasnt as if he were attracted by anything in particular. A day later, he returned to Italy.

Not long after his visit, Conte emailed me and thanked me for hosting him and I told him it was a pleasure and that I looked forward to inviting him again. A few months later, he sent me an email with an attachment. When I opened the attachment I discovered the story, I personaggi dei romanzi futuri with the additional line, Dovuto a Mark Axelrod. Needless to say, I was moved by the gesture since it was the last thing I expected. I immediately sent a copy to Robert Buranello with the suggestion that the two of us should collaborate on a translation of the story with the possibility of publication. And so we did. With the assistance of Pasquale Verdicchio and Michael Mirolla of Guernica, Contes story has now been published.

But Id like to say a few things about the story itself since it was clearly influenced by Contes stay in Southern California and not insignificantly his visit to Laguna Beach. The story, which has been re-titled as Angelinas Lips, is based upon the main character, Umberto Umber, and his obsession with well Angelina Jolies lips. To be Hitchcockian about it, the story deals with the relationship between Umber, a professor of comparative literature, and a Dr. Jamshid Kloster, an experimental physicist whom Umber meets on a Laguna Beach bench as Diane Keaton, a long-time Laguna Beach resident, strolls by. Apparently, Conte wasnt as oblivious to his Laguna Beach surroundings as I thought he was.

Umbers other obsession or, perhaps, his deepest regret is that as time goes by he will never be able to know any of the characters of future novels. In Hitchcockian terms, thats the McGuffin and as Kloster tells Umber: If youre interested in future novels, we must travel to the libraries of the future. And thats where the story becomes both Borgesian and Contesque as Umber asks Kloster what he will need for that to happen and Kloster replies: We need a library, four mirrors, and a beautiful sunset. That said, I take my exit from this preface and leave you with Angelinas lips, Umbers obsessions, Klosters physics, a library, four mirrors, a beautiful sunset and Diane Keaton strolling somewhere on the sands of Laguna Beach.

Mark Axelrod

Somewhere near,
but not quite on, Laguna Beach
September, 2010

For Mark Axelrod

Somewhere in his hippyish youth, Umberto Umber had read that California is situated at the bottom of an inclined plane and that whatever is not well-rooted tumbles down. Having arrived at an advanced age and always feeling totally free of any kind of attachment, rather than tumble down there, he chose to slide blithely into a position at a California university and a home in Laguna Beach where, despite the distance of thousands of kilometres, it seems like being in a more extensive and tranquil Cte dAzur. Professor Umber had no real ties to anything tangible. He was Italian, even if in Italy his name led people to believe that he was a foreigner. There or abroad, many colleagues poked fun at the striking similarity between his name and that of the protagonist of that very famous twentieth-century novel. He would patiently smile while noting that he lacked two hs and an extra t in order to be the namesake of that character in