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WEAVING THE WIND

tiziana

Tiziana Rinaldi Castro


Last Updated: 4/5/2009

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Gender: Female
Status: Married
Age: 44
Sign: Cancer

City: BROOKLYN
State: New York
Country: US
Signup Date: 3/24/2006

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Sunday, January 04, 2009 
Wednesday, December 17, 2008 

Current mood:  awake
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Forever Friends Blog Tour

 

Thank you for reading this blog entry! This is the seventeenth post on the blog tour. If you have only just joined the tour, welcome, there is a lot for you to catch up on! If you are into the third week of this virtual journey, thank you for following the tour! Last week I talked about the variety of poems in Forever Friends and how some of the poems express feelings of friendship through music and nature. Poetry lends itself readily to the interpretation of sounds and sights found in our everyday surroundings, whether it be in town or in the countryside. Poetic, lilting words that flow across the page convey thoughts readers can feel inside as they pick up the gentle rhythm and tempo of a poem. Within the pages of the anthology, you will find poems that demonstrate the importance of friendship and the special relationship that can develop between humans, animals and even musical instruments.

 

Tiziana Rinaldi Castro's poem, Ah, What a Relief has a musical rhythm that gives a clue to the meaning of the poem. At first reading, it may not be apparent to the reader that the poem is about the relationship between a musician and a musical instrument. The cadence of the words, however, induce the sound of notes in the air being played, informing the reader that a wind instrument is the friend of the poet and that the friendship is renewed each day afresh. The perfect combination of poetry and music!

 

I would like to thank Tiziana for inviting me to her blog to give me a chance say more about the poems in the anthology.


Forever Friends is available now from all major online stores,

including amazon.com: Forever Friends

and barnesandnoble.com: Forever Friends

 

Thanks again for reading this and best wishes for the holiday season!

 

Shelagh Watkins

 

Please follow the tour to learn more about the book.

 

Blog Tour

 

December 1 Chelle Cordero

December 2 Zada Connaway

December 3 Mary Muhammad

December 4 Helen Wisocki

December 5 Pam Robertson

December 6 Dick Stodghill

December 7 Philip Spires

December 8 Milena Gomez

December 9 L. Sue Durkin

December 10 A. Ahad

December 11 Malcolm R. Campbell

December 12 Lynn C. Johnston

December 13 Dianne Sagan

December 14 Donald James Parker

December 15 Karina Kantas

December 16 Grace Bridges

December 17 Tiziana Rinaldi Castro

December 18 Yvonne Oots

December 19 Dana Rettig

Monday, October 20, 2008 
Sunday, December 09, 2007 

Current mood:  crushed
Category: Friends
Photo Sharing and Video Hosting at Photobucket


Tom, you will forever be in my heart. I will miss you so much... life without you... the pain starts now... don't ever forget us, Tom... we won't forget you... may your new life be as brilliant as it was here.... may you enrich the spirit world as you have the human one... your infectious laugh will resonate with me for ever... I am so privileged to have met you... I love you, man!


Wednesday, October 18, 2006 

Current mood:  loved
Category: Romance and Relationships
Dear friends, on Saturday October 14th JT and I were married on the Brooklyn Bridge by the truly amazing Reverend Zenobia! It was a moving ceremony, sweet, lovely, and filled with laughter, rose petals and- between the wovs and the exchange of the rings- a beautiful interpretation of "The book of love" by best man and dear brother and friend Brandon Ross on the guitar. Bikes, passerbys cheering and clapping, old ladies blessing us and the New York sky of a dense, trembling blue did the rest... pretty amazing that two old wolves like us could do it again... I am now Tiziana Rinaldi Lewis and feel stunned and so grateful to have found such an incredible human being, intelligent, witty, humorous, wise, compassionate and so loving! A great partner and a loving father, a good man all around JT LEWIS, and I love you!!
Sunday, June 04, 2006 

Current mood:  curious
Category: Writing and Poetry

I am of me

I am in this vast expanse that I also am,
I reach distances touched
by my boundless surroundings:
I am those too and I dont end.
With those parts of me that want to play I play
with those that want to cry I give in
with those that crave to comprehend I do
I am perfectly situated and spinning
waking and sleeping at once
I am one with the sense of nothingness that fills me
I am the filled infinite self and cannot leave of myself
nor I can leave myself behind,
I have tried countless times to create otherness and I can't
The name you give me- God- is a whisper and a sword,
a deck of cards for a solitaire I play infinitely
from the day I looked upon you and you began

In this lonely place that I am
I do not know
what to answer you
for you too are none but of me
what I am of you:
the most ruinous and fleeting
the most unpredictable
isolated, deaf part of me

And to the music and the silence
and to the polished coins and to the dust
and to this meandering that you call destiny, fear,
God in the making, or love
I do not resound
as all and everything and more
is of me
an asphyxiating expanse
that is of me what I am of it and there is no respite:
you who are of me mirror and labyrinth
you who are one and I.
I wish youd end me and with I you

Currently listening:
Costume
By Brandon Ross
Release date: 14 December, 2004
Sunday, June 04, 2006 

Current mood:  contemplative

                    

 

Quest'amore non s'inginocchia

neanche dinanzi all'amato

ne' di se' sorseggia

nella tazza che non si svuota

se non per traboccare, quest'amore non scivola,

non svuota spazi,

svia ogni tentativo di fermarlo, come la serpe

si rivolta

verso chi lo ammonisce, quest'amore

conosce solo il ronzio dell'ape

e il tubare della colomba,

in quel linguaggio si lascia cantare o parlare,

si lascia rapire

e rapisce.

 

Un ronzio e un tubare questa lingua,

che sono un figlio e un verso,

una morte veloce e selvaggia,

una figlia e una stagione,

lo spezzare il pane e il menarca di una balena,

miglia di follia tracciata e millimetri di metalogica,

un desiderio tanto puro e amato

da non essere esaudito,

una ferita cosi' cruda e dolente

da esser custodita

come un segreto o una benedizione,

una notte insonne

in cerca delle parole,

 

una passeggiata all'alba per trovarle,

il dono dell'eternita' per aver masticato quelle giuste,

la fine di una vita

senza rimpianti. Quest'amore mangia rose

e le sue spine

e talvolta

il delicato nettare d'ambrosia degli Dei,

talvolta il sale nero della magia,

talvolta l'agro dolce nulla di un abbandono

crudele quanto il vestibolo malamente illuminato

dove si consumo'. 

Si ciba di vento

e lacrime

e dell'incalcolabile liberazione

che la sua frizione propelle.

E' un amore arrogante,

egoista e pieno di se',

indossa piume di pavone e mantille,

una cintura di frecce e rivoltelle

ed una bellezza insostenibile

che illumina coloro che lo guardano.

Persi poi la bussola

e il respiro che tutto abbraccia,

e ridotto ad un umile mendicante

quest'amore,

come il Cristo che s'arrampico' sulla croce

e come quel Cristo,

in un attimo,

si irrigidisce d'odio

e guardando dabbasso sibila:

"E' contro di voi che muoio, tanto v'avverso". Quest'amore vive

in lettere nascoste all'amato,

arrugginisce nell'anello scavato

dal mare senza fondo, si svela

nelle devastanti

latitudini di silenzio da dove

il nome dell'amato

e' sussurrato, da dove

il nome dell'amato e' ululato.

Tortura nella promessa di un lieve tocco,

tradisce nell'attesa infinita

dell'oggetto del desiderio

quando Dei e benevolenti santi

sono indifferenti e abbandonati,

sono tutti morti. Quest'amore

e' vissuto,

nascosto,

arrugginito,

svelato,

torturato

e tradito.

 

Canta talvolta

una ballata all'amato,

qualche volta a se' stesso:

dimentico dell'amato

non lo riconosce piu'

e di se' stesso vive,

del suo stesso delirio

dorme e si sveglia

nel letto fatto e sfatto

per l'amore e per la lotta,

per mostri che

da sotto le coltri minacciano di solitudine,

per uccelli di pace e campane di vendetta

nei corpi che si confondono,

per l'agonia di doversi rialzare.

 

Quest'amore muove celi,

celi lo muovono:

i suoi piedi, talvolta spirituali e liberi,

traversano secoli di paziente splendore;

talvolta, brutali e inclementi,

affrettano nella polvere

un minuto di angoscia. Non conosce

ne' luce ne' buio

ne' vuoto ne' pieno

ne' catena ne' rapsodia

ne' il sospiro di rassegnazione. Quest'amore

grida come il corvo all'alba,

chiama i fedeli all'altare che mette a fuoco

e il derelitto alla terra

nella quale pianta

semi di liberazione, quest'amore non conosce

 ne' attesa ne' tempo

e di se' muore prima di riemergere

per uccidere l'amante e l'amato.

Ride di me e di te

e danza la sua guerra,

scava,

riempie

e di nuovo solca la sua strada,

nutre l'aranceto

consegnandolo a un'eterna primavera,

divora la sua propria carne,

svuota la sua tomba,

fende il drago dalle viscere in fuori,

impastando il suo corpo,

le sue labbra

e le sue lingue di fuoco

in una pagnotta di resurrezione

che sbrana senz'affanno. Quest'amore e'

instancabile e inclemente,

beve il suo lago

di acque pesanti e scure,

sputa le sue bugie,

cela le sue risoluzioni

contro te e me

e contro l'amante e l'amato

e contro la moglie, il marito e il saggio

quando la moglie e il marito sono i traditi

e il saggio

colui che non centellina consigli, quest'amore

deride ogni buon senso

e ogni lucidita',

ogni idea vanifica

e spezza i confini della ragione,

allontanandoli come demoni,

come una bomba dilania

tutte le stazioni di incertezza e moralita'

attraverso e al di la' del cuore.

 

Un giorno tuttavia

si sveglia nel cuore dell'amato

e si fa malleabile e dolce,

come la brezza

che gli intreccia i capelli,

le mani a coppa

dalle quali beve e disseta,

il sussurro nel quale

l'amato chiama l'amore

e l'amore risponde con il proprio,

e Dei e santi come miele s'addensano

sulle sue dita e quest'amore

se le succhia

ed e' sorpreso

di come tutto

sembri ragionevole e ordinato,

tremante come un cielo stellato

dietro lacrime di gratitudine

e nella sua plenitudine

perde la pelle

lasciandosi dietro

solo l'argenteo chiarore

della coda


che avviluppa

l'alito dell'amante

e risuona nuovo, nuovo vibra.

E

nuovo a se' e al mondo

rinasce intatto. 

 

Sunday, June 04, 2006 

Current mood:  curious
Category: Writing and Poetry

 

 

THIS LOVE

 

This love is not stooping to anybody

not even to the loved one

nor is it sipping itself into a cup

never tipping over if not to overflow,

this love is not sliding down,

is not emptying spaces,

it defies any attempt to bind it, 

like a snake it snaps back at those who admonish it

this love knows only the sound of the bee and the dove

in that language it will be sung or spoken

it will seize and be seized...

a buzzing that is a son and a poem,

a quick and savage death,

a daughter and a season,

a breaking of bread and a menstruating whale,

miles of mapped madness and millimeters of meta logic

a desire so pure and loved

that it will not be assuaged

a wound so open and sore

that it will be guarded as a secret

or a benediction

a sleepless night looking for words

a walk at dawn finding them

the gift of eternity for chewing on the right ones

a lifetime ending with no regrets

This love eats roses- thorns and all-

sometimes the delectable Ambrosia of the Gods,

sometimes the black salt of witchcraft

sometimes the bitter sweet nothingness

of an abandonment as cruel as the light dimmed entryway

where it was consumed

this love feeds on wind and tears

and the incalculable exhilaration

that its friction propels.

It is an arrogant love,

it is selfish and self absorbed,

it wears peacocks feathers and mantillas,

a belt of colts and arrows

and an arresting beauty enlivening all who look upon it.

Then lost to itself its breath all encompassing and its compass

it is reduced to a humble beggar,

as the Christ who climbed the cross,

and as that Christ it turns spiteful at a moments notice,

and looking beneath it sibilates:

it is against you that I die, I loathe you so 

This loves lives in letters hidden from the loved one,

it rusts in a ring dug from the bottomless sea,

it unveils in the devastatingly ravaged latitude of silence

from where the name of the loved one is whispered

from where the name of the loved one is howled

It tortures in the promise of one solitary touch,

It betrays in the infinite wait for its object of desire

when Gods and benevolent saints

are all forsaking and forsaken,

are all dead,

this love is lived, hidden, rusted, unveiled, tortured and betrayed

 

Sometimes it sings a ballad to its loved one

sometimes to itself;

forgetful of the loved one it recognizes it not

and of itself it lives,

of its own delirium

it sleeps and awakes

in the bed made and unmade for love making and wrestling,

for dilating monsters

waging wars of loneliness beneath it

birds of peace and bells of revenge on it

through the bodies consuming each other

and the agony of having to get up from it

 

This love moves heavens, heavens move it,

its feet, sometimes spiritual and unbound,

cover whole centuries of patient splendor;

sometimes, brutal and unyielding,

rush through the dust a minute of despair.

 

It knows no light or dark

neither empty nor full

no chain neither rhapsody nor the sigh of resignation

this loves shouts like the crow at dawn

it calls the faithful to the altar that it burns down to ashes

and the hopeless to the ground in which it sows seeds of liberation

this love knows no time nor wait

this love dies of itself

before reemerging

to kill the lover and the loved one,

this love laughs at you and I and dances its own war,

tars, melts and re-tars its ways,

nourishes its orange grove back to an endless spring,

devours its own flesh, empties its tomb,

slays the dragon from the entrails out

kneading his body his lips and his tongues of fire

into a loaf of resurrection that it gnaws at without respite,

 

this love is tireless and merciless

it drinks its lake of dark, heavy waters

spits out its lies, hides its resolution

against you and I and the lover and the loved one

and against the wife, the husband and the wise

when the wife and the husband are the betrayed ones

and the wise the onlooker

carrying forth the righteous advice,

it ridicules all common sense and lucidity

it shatters all ideas and sensible surroundings

all stations of uncertainty and morality

like a bomb blasting through across and beyond the heart.

 

Yet one day it awakes into the heart of the loved one

and becomes malleable and gentle

as the breeze through which it braids the lovers hair,

as the cupped hands from which it drinks

and it quenches the thirst 

as the whisper in which the loved one calls its name

and it answers with its own

and Gods and saints all thicken like honey on its fingers

and this love sucks them and it is amazed

at how all seems reasonable and orderly

trembling as a starred sky through tears of gratitude

and in its plenitude it sheds its skin

leaving behind only the silvery glowing tail

coiling around the lovers breath

and resounding anew

anew vibrating

anew re-birthing

untouched

 

 

 

Monday, March 27, 2006 

Category: Writing and Poetry
"Il Manifesto" del 03 Gennaio 2002

The Snake Woman coming from Cilento
The crossing between native culture and Mediterranean culture in the novel "The Long Return" by Tiziana Rinaldi Castro.
A tribal identity. A successful representation of the American Indian in the story of Pietra and her search of herself.
GIORGIO MARIANI Il Manifesto, January 3rd 2002



In her novel Il lungo ritorno (Edizioni e/o, pp.250, L. 25.000), Tiziana Rinaldi Castro an Italian transplanted in the United States where, after studying Anthropology, teaches now at the University of Colorado- shows a noteworthy courage. The author is, in fact, perfectly aware of the risks she is inevitably taking when deciding to set a large part of the story in an ambient so traditionally mythologized and idealized, and therefore misunderstood, as the American Indian world: in her case, the Apache reservation of San Carlos, in the State of Arizona Sure, however, of her autobiographical experience, and conscious that the only alternative to the consummation of a culture as well as to the ingenuous pretense of a mystical fusion with it, is the search of moments of partial juxtaposition of her own symbolic-cultural universe with the other's, Rinaldi Castro succeeds in giving us a multiform and complex representation of the Indian world, protected by the 'pro' and 'anti' Indian stereotypes. The novel first scene is set in the reservation, from which it surely proceeds towards places and moments that follow and precede that moment: among the many returns in the book-as the title suggests-, we need to include the narration's spiral movement, drawing up in this manner a path homologous to that 'long return' towards herself that the protagonist has to make in order to find herself. Pietra (Stone)- this is the name of the narrating protagonist- is therefore both a subject in transit, moving between the native Mediterranean (Cilento and Greece), New York and the reservation, as well as a figure gifted with a rocky solidity- as the name suggests- a stillness with an awareness, however, of her own roots and never mere immobility. Pietra lives, fights and suffers to understand herself and the others, moving along the narrow road that runs between the nomadic and schizophrenic post modernism and the immobility of traditions- whether Mediterranean or American Indian. Stealing herself away from the rigidity of her original family and then from her New York based relationship with her first husband Lou, Pietra proceeds her initiation path among the Apache people of her new partner Carlos Kaytennae, getting to a full maturity only after losing both Carlos and Lou. Only when, thus, overwhelmed by an "unspeakable pain" that seems to annihilate her and forces her "to look at all things without grasping the sense", she finds the strength to reconcile with a self that isn't any longer simply individual, and deserves to be celebrated in her plurality. Only then she can toast to herself: "Pietra Irene Snake Woman Mattia Martinson Kaytennae is saved". The novel, both in its structure as in the language, avoids any simplistic contraposition between the white world and the Indian world. Of course it is among the Apache that Pietra becomes, after a 'magical' rite of passage- the bite of a snake-, a "Snake Woman", a medicine woman, but the psychic powers and her visionary abilities are part of Pietra's life since she was a little child. The Indian world, therefore, more than a dimension of alterity to penetrate, or a spiritual sphere in which to lose her identity, is the context in which she is able to express that part of herself never allowed to emerge and never fully accepted in the social and imaginary worlds in which Pietra has lived before. Not only for the Indian ambiance, but especially due to the circular manner of the narration, for the great value given to the visionary reality, and above all for the ways in which this visionary dimension conjugates with the material experiences of the protagonist, The Long Return is maybe closer to many American Indian novels than to the models of Italian narration of today. The title itself has something 'Indian' about it. As Sara Antonelli writes in her recent and brilliant report of "The Contemporary USA culture" (Carocci, 2001) we need not to forget how "on the very large background of the American novel, the American Indian novel constitutes an autonomous canon. Differently from what happens in novels such as Huckleberry Finn e Moby Dick, in fact, the Americna Indian novels develop around protagonists for whom the search of the self proceeds not from the going away from home, but, on the contrary, from returning home, in other words not from the rejection, but the recuperation of a tribal identity to which one belongs or has belonged". Naturally, at the end of her path, Pietra does not find a 'tribal' identity, but it is certainly relevant that the novel ends with her return home, almost suggesting that it is any way with the Mediterranean "tribe" that she must reconcile, and that, as after all happens also in many American Indian novels, such reconciliation is never total and never without contradictions.
The complex and troubled relationships Pietra has with her family, in particular with her father and mother, are, in this sense, revealing signs of how not even a "medicine woman" like Pietra can aspire to a complete 'healing'. It is maybe for this reason that the author, in an interview with Cinzia Fiori on Il Corriere della Sera, the author states her uncertainty about assigning to her novel the status of 'medicine tale'. "Medicine tale is that tale that heals, the tale that becomes medicine for those who need it. It is the narration that returns the listener on the right path. For the American Indians it's also, of course, the tale that gives them back their origins by remembering the ancestors, their land with their beloved buried underneath, who are part of them in an only circle. I did not set to write a medicine tale intentionally. Maybe it can become one, though, for those who struggle to return to themselves". Or maybe, more radically, while the tribal tale evokes a transcendental dimension, a mythical home, to which one goes back, in the universe of the novel- even a medicine novel- the only corner stone on which to rebuild one's own house cannot be but an immanent Stone (Pietra) of flesh and blood.
Monday, March 27, 2006 

Current mood:  calm
Category: MySpace
I walk to the other side every day, if the water is warm I rest and taste the salt, if it is cold I make my mind of winter and I sing. I invert the shoes on the dolls so they can't walk around the house in the middle of the night; I listen to Bach and King Crimson, I hear Rumi more than I'd like to and each time time he hits me it's a light shock and I laugh; I raise my children, I cook for them and my man everytime they are hungry, I recite incantations that include Dante's verses and my grandmother's magic riddles for making everyone happy and I am surprised every day at the fact that life consumes me.

I fall asleep with The Iliad since I was 12, hoping that tomorrow I might be a little more like Hector than Achilles.

I write novels in a not too sober, yet seldom decadent, and surely as serious as the mockery of a mass whose very actors are unaware it is- Italian.
I transit between continents, uncertain if to follow the soul or the heart, and twenty years later I suspect that I do not belong to either one of the shores but to the waters separating them. It is in fact within the interval between the heart beat and the breath of the soul that true freedom could occur, a seizure.

I travel on other bridges as well, to reach campuses where I deliver to lovely young wheat shafts the gospels of Apollo and Dionysus, the moving logos' architectures of Plato and the strict rules of an eight centuries old syntax that seduces people into singing the longing arias of Verdi and Puccini. That is actually the fun part of life: work.
Writing, building, searching and losing it all only to love it more, obsessing over which words might breathe the rhythm of any epiphany? The inestimable curse of my life.