2024-12-11 15:24:00
P presented at Più libri liberi “La Torre d’amore” by Rachilde, edited by Marina Geat, published by Croce editions. An event, which was also attended by a representative of teh French Embassy in Rome, fascinating from various points of view.
First of all for the rediscovery of a writer of grate value, a forerunner, already at the end of the nineteenth century, of many of the feminist and gender fluid issues that are today the subject of heated reflections.
As the curator, Marina Geat, professor at the Roma Tre University, explained, “through the pseudonym of Rachilde, a writer who throughout her life has sought and found her own space of expression expresses herself with the strength of an intensely poetic writing.” in a world totally shaped by male supremacy, which Rachilde has constantly contested and radically questioned”.
“In addition to the most famous and scandalous of his novels, Monsieur Vénus, which fully overturns sexual roles by representing a woman who becomes a man and a man who becomes a woman to the extreme consequences of a feminicide – adds Marina Geat – a novel like La Tower of Love, with its mythical struggle between the two men locked up in the Ar-Men lighthouse and the raging sea that avenges every outrage committed against women, shows a power of deconstruction that goes even beyond beyond just sexual confrontation, reshaping the definition of the limits between Humanity and Nature”.
Therefore, “authentic Poetry” – concludes Marina Geat, hoping that this publication is only the beginning of a broader revaluation of Rachilde.
A fundamental role in the success of this book can be attributed to the translator, the poet Sara Concato. Present at the PLPL event, Sara Concato explained how arduous and careful her work was, which implied a deep contact with the profound meaning of Rachilde’s writing: ”The first difficulty came from the technical language of the Navy, which rachilde demonstrated that he knew perfectly and that the translator had to undertake to convey in the most exact way. Then there are the gender nuances, essential in this text, which clash with the differences between Italian and French. In particular, the sea is feminine – la mer – in French, with a whole series of consequences that the translator, without betraying the meaning, had to adapt to the new linguistic context. there is an overall sonority of the text in which the delirium of the wind acts on the sound of the words and sentences. Because of this very reason I had to assert my poetic sensitivity by seeking a satisfactory and, I believe, equally poetic result also in the translated version.”
The reading of some passages from La Torre di Amore, masterfully performed by Gilberto Scaramuzzo, teacher and director of the Mimesis performing arts company of the Roma Tre University, allowed the PLPL audience to fully appreciate the disturbing beauty of this text by Rachilde.
jeanne Champagne then intervened, a French theater director who was the first to adapt this text for the stage, with a show which, in 1984, caused a sensation for its transgressive courage and the quality of the interpretation: ”For me it was about a real love at first sight – explained the director. At the time there was still no talk of “immersive” theater, but Rachilde’s cruel text required precisely this. A complete sensorial involvement of the audience that I achieved with the scenography, the sounds, the lights, even the smells, from which one emerged prey to a sort of dizzying interest. An unforgettable experience which, for me as a young director, brought about a success that has lasted to this day, with my direction of the Théatre Ecoute”.
Jeanne Champagne then asked the question about the definition of “feminist” often attributed to Rachilde, since this writer sometimes declared the opposite, publishing in 1928 a provocative little book entitled Pourquoi je ne suis pas féministe.
The answer came from reine Prat, present at the event, an crucial personality in the world of French culture, already an authoritative official of the Ministry of Culture in France for which she drafted two “explosive” reports on the situation of inequality of women in the professions of art and culture and author, in 2021, of the book Exploser le plafond. Précis de feminisme à l’usage du monde de la culture. Reine Prat explained that «beyond the labels of “feminism” which should though be contextualized and which are sometimes reductive, what is certain is that Rachilde was the object, like many women of culture, of the invisibilization action implemented for a long time from official culture, disappearing from literary histories and the catalogs of publishing houses”. Reine Prat thus also hoped that the publication of Rachilde will continue in France and also in Italy, with authoritative publishing houses and through quality translations such as the one created by Sara Concato. “Passing on texts like these, rich in poetic intensity with a strong impact, is essential to help break stereotypes and break the limits of sensitivity and thought which unluckily still influence us greatly”.
What themes of gender and identity are explored in Rachilde’s “La Torre d’amore”?
Interview Between Time.news Editor and Marina Geat on the Rediscovery of Rachilde
Editor: Welcome, Marina geat, to our Time.news interview! It’s fantastic to have you here, especially in light of the recent event celebrating the publication of “La Torre d’amore” by Rachilde. Can you tell us what motivated you to curate this work for a modern audience?
marina Geat: Thank you for having me! My motivation stems from Rachilde’s incredible ability to challenge societal norms and her profound exploration of gender dynamics long before thes topics gained mainstream attention. She wrote with an intensity that resonates today, and I believe it’s vital to reintroduce her to contemporary readers.
Editor: Absolutely! Rachilde was quite a pioneer. What do you think makes her writing,particularly ”La Torre d’amore,” relevant to today’s discussions around feminism and gender fluidity?
Marina Geat: Rachilde’s work is highly relevant today because it dares to question the rigid gender roles that have historically dominated literature and society.In “la Torre d’amore,” she illustrates a mythic struggle that transcends mere sexual confrontation.The characters exist in a space that not only critiques gender norms but also delves into the relationship between humanity and nature. This is a broader re-evaluation of our identities and the systems we navigate, which is a conversation our society is still grappling with.
Editor: that’s an insightful viewpoint. You mentioned Rachilde’s most famous work, “Monsieur Vénus,” which subverts traditional gender roles. How do you see that theme echoed in “la Torre d’amore”?
Marina Geat: Both works challenge the status quo but in different ways. In “Monsieur Vénus,” Rachilde explores sexual identity directly through her characters’ transformations. In “La Torre d’amore,” the struggle occurs within the context of vengeance against societal injustices, particularly towards women.The men in the lighthouse are not just fighting each other; they are also battling the tumultuous sea,symbolizing the broader fight against patriarchal oppression. it’s less about individual roles and more about the collective struggle for recognition and respect.
Editor: Fascinating! You also mentioned the essential role of translation in bringing rachilde’s work to a new audience. How did Sara Conc contribute to the success of this publication?
Marina geat: Sara Conc’s translation is artful; she captures the poetic essence of Rachilde’s writing while making it accessible to today’s readers. Translating literature can sometiems strip away the original’s beauty,but Conc has skillfully preserved Rachilde’s lyrical style and complex ideas. This allows readers to engage intimately with her work, feeling the nuances that make Rachilde’s voice so vital.
Editor: it’s great to hear how her translation maintains the spirit of Rachilde’s writing. Do you hope that “La Torre d’amore” will lead to more explorations of Rachilde’s other works?
Marina Geat: I sincerely hope so! “La Torre d’amore” should be just the beginning. Rachilde’s body of work is rich with themes that merit exploration, and I believe that by bringing attention to her voice, we can spark a wider re-evaluation of female writers who have been overlooked. Authentic poetry, as I call it, deserves to be celebrated.
Editor: Thank you, Marina! Your insights into Rachilde’s work are incredibly enlightening.It’s clear that her legacy is not only about her past but also about inspiring future generations to challenge and redefine the narratives around gender and identity.
Marina Geat: Thank you for the opportunity to discuss this important subject! I hope readers delve into Rachilde’s works and find the same inspiration that I have.
Editor: We’re all looking forward to that! Thank you again for joining us today.