"The Skylight"). In the second part - the nocturne of "Genoa", all the basic mythic figures and scenes that will preoccupy Campana return: port cities, barbaric mother figures, enormous prostitutes, windy plains, the captive teenager. Even in his prose poems, the use of repetition, superlatives, and keywords, as well as the effect of resonance in prepositions, create a strong scene. Interpretation In the fifteen years following his death at the end of World War II, and before, during the period of expressionism and futurism, the interpretation of Campana's poetry focused on the apparently uncontrolled depth of the word, hidden in a psychological state of hallucination and ruin. In his verse, where there is evidence of weak supervision and rough writing, there is - according to many critics - the vitality of the turn of the century avant-garde. Because of this, many different poets have been drawn to his poetry, such as Mario Luzi, Pier Paolo Pasolini, and Andrea Zanzotto. Selected works The current edition of Dino Campana's collected writings is Dino Campana Opere (Milan: Editori Associati, 1989). Bibliography Dino Campana: Selected Works, trans. Cristina Viti (Survivors' Press, 2006) Orphic Songs and Other Poems, trans. by Luigi Bonaffini (P. Lang, 1991) Orphic Songs, trans. Charles Wright (Oberlin College Press, 1984), Orphic Songs Pocket Poets #54, trans. Lawrence Salomon (City Lights, 1998) Notes External links Italian official website English translation of Campana's Autumn Garden 1885 births 1932 deaths People from Marradi Italian male poets Poètes maudits 20th-century Italian poets 20th-century Italian male writers