Italian Futurist Poetry contains more than 100 poems (both Italian and English versions) by sixty-one poets from across Italy.

February 21-September 1, 2014 The first comprehensive overview of Italian Futurism to be presented in the United States, this multidisciplinary exhibition examines the historical sweep of the movement from its inception with F.T. Marinetti's Futurist manifesto in 1909 through its demise at the end of World War II. Presenting over 300 works executed between 1909 and 1944, the chronological exhibition encompasses not only painting and sculpture, but also architecture, design, ceramics, fashion, film, photography, advertising, free-form poetry, publications, music, theater, and performance. To convey the myriad artistic languages employed by the Futurists as they evolved over a 35-year period, the exhibition integrates multiple disciplines in each section. Italian Futurism is organized by Vivien Greene, Curator, 19th- and Early 20th-Century Art, Solomon R. Guggenheim Museum. In addition, a distinguished international advisory committee has been assembled to provide expertise and guidance.

In which Marinetti used the language of machines and explosions to express his view of poetry as reportage from the front: "Words in Freedom," in which he declared war on poetry by destroying syntax and spelling and by experimenting with typography; and finally love poems to his wife, Benedetta, in which he returned in part to subjects and forms that he had previously rejected.

More than a century has now passed since F.T. Marinetti's famous "Futurist Manifesto" slammed the door on the nineteenth century and trumpeted the arrival of modernity in Europe and beyond. Since then, against the backdrop of two world wars and several radical social upheavals whose effects continue to be felt, Italian poets have explored the possibilities of verse in a modern age, creating in the process one of the great bodies of twentieth-century poetry. Even before Marinetti, poets such as Giovanni Pascoli had begun to clear the weedy rhetoric and withered diction from the once-glorious but by then decadent grounds of Italian poetry. And their winter labors led to an extraordinary spring: Giuseppe Ungaretti's wartime distillations and Eugenio Montale's "astringent music"; Umberto Saba's song of himself and Salvatore Quasimodo's hermetic involutions. After World War II, new generations—including such marvelously diverse poets as Sandro Penna, Pier Paolo Pasolini, Amelia Rosselli, Vittorio Sereni, and Raffaello Baldini—extended the enormous promise of the prewar era into our time. A surprising and illuminating collection, The FSG Book of 20th-Century Italian Poetry invites the reader to examine the works of these and other poets—seventy-five in all—in context and conversation with one another. Edited by the poet and translator Geoffrey Brock, these poems have been beautifully rendered into English by some of our finest English-language poets, including Seamus Heaney, Robert Lowell, Ezra Pound, Paul Muldoon, and many exciting younger voices.

Filippo Tommaso Emilio Marinetti (22 December 1876 – 2 December 1944) was an Italian poet, editor, art theorist, and founder of the Futurist movement. "The Manifesto of Futurism" written by the Italian poet Filippo Tommaso Marinetti, initiated an artistic philosophy, Futurism, that was a rejection of the past, and a celebration of speed, machinery, violence, youth and industry; it also advocated the modernization and cultural rejuvenation of Italy. Marinetti wrote the manifesto in the autumn of 1908 and it first appeared as a preface to a volume of his poems, published in Milan in January 1909. It was published in the Italian newspaper Gazzetta dell'Emilia in Bologna on 5 February 1909 then in French as Manifeste du futurisme (Manifesto of Futurism) in the newspaper Le Figaro on 20 February 1909. Translated by Jason Forbus

This monograph offers the first-ever, full-length analysis of the most irreverent book of Italian Futurism: L’anguria lirica, printed in 1934 on tin metal sheets, with design and poetic text by Tullio d’Albisola and illustrations by Bruno Munari. This study, which features the unabridged reproduction of the pages of the tin book, accompanied by the first English translation of the poem, aims to disentangle the complex relationship between text and image in this total artwork. It shows how the endless series of material transformations at its core – of woman into food, of love into desecrating religion, of man into machine, of poetry into matter – fostered a radical change in poetry-writing, thus breaking away from a stagnant lyrical past.

A major addition to the literature of poetry, Edward Hirsch’s sparkling new work is a compilation of forms, devices, groups, movements, isms, aesthetics, rhetorical terms, and folklore—a book that all readers, writers, teachers, and students of poetry will return to over and over. Hirsch has delved deeply into the poetic traditions of the world, returning with an inclusive, international compendium. Moving gracefully from the bards of ancient Greece to the revolutionaries of Latin America, from small formal elements to large mysteries, he provides thoughtful definitions for the most important poetic vocabulary, imbuing his work with a lifetime of scholarship and the warmth of a man devoted to his art. Knowing how a poem works is essential to unlocking its meaning. Hirsch’s entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made How to Read a Poem so beloved, A Poet’s Glossary is a new classic.