The correspondence between sculptor Arnaldo Pomodoro and writer Francesco Leonetti, only recently analysed, has proven to be a significant source for reconstructing not only Leonetti’s biography but also some of the principles guiding his literary production. The lifelong connection between the two artists has, of course, been well-documented since the publication of the book L’arte lunga (1992). However, thirty years on from the publication of that book, their correspondence now allows for a more detailed delineation of Leonetti’s fascination with Pomodoro’s artistic process. This, in turn, enables us to reconstruct the extent to which Leonetti’s curiosity towards Pomodoro’s art propelled him toward new creative directions.
Thanks to Leonetti’s daughter, Bitta Leonetti, who kindly made the writer’s correspondence with Pomodoro available, a collection of twelve notable letters dating between 1966 and 1970 has come to light. Half of these letters were penned by Pomodoro, and half by Leonetti, showcasing their distinct personal styles, preferences, and approaches to letter-writing. While the sculptor resorted to his own handwriting, Leonetti’s missives are typewritten, with a few autograph annotations at the bottom of the page or in the left margin (and even vertically in one case). Additionally, the correspondence is not continuous but is concentrated in two periods: the years 1966-67 and 1970.
Furthermore, these letters diverge in terms of content. Pomodoro’s letters, some of which were sent from Stanford, documented social revolutions and general political unrest, along with their effects on American youth. Indeed, Pomodoro bore witness to a pivotal moment of change that would soon reach Italy. A poignant letter from October 1966, accompanied by newspaper clippings of a protest in Berkeley, stands as evidence of this (see here). In contrast, Leonetti’s letters documented his role as an organiser and instigator of cultural events and debates. They attest to his meticulous editorial work and his constant effort in developing a critical and informed perspective on pressing issues.
Among the many topics discussed in these letters, one particularly deserving of attention is the news of the inaugural issue of the cultural and political magazine “Che fare,” of which both Pomodoro and Leonetti served as editors. This magazine, first published in May 1967, anticipated several cultural issues that would soon become crucial to the 1968 Movement. This attention to such issues, I dare say, stemmed from Pomodoro’s experiences in California.
As evident in a letter dated January 10, 1967 (see p. 1 of the pdf below), Leonetti encouraged Pomodoro to establish contact with the nonviolent movement, seek reliable and lasting correspondents, and solicit collaboration from members of the Black Power movement for the “Che fare.” Furthermore, Leonetti’s letters during this preparatory phase reveal his desire for the Italian Neo-avant-garde, then engaged with the literary magazine “Quindici,” to be more actively involved with international movements.
Furthermore, this letter is a significant document shedding light on a conflict between different factions within the Italian literary world. Shortly after the publication of the initial issues, the editorial boards of “Che fare” and “Quindici” clashed. The latter published an article by Umberto Eco, criticising the occupations at the Milan Triennale and the Venice Biennale. In response, within the same letter, Leonetti informed Pomodoro about his meeting with Balestrini, Sanguineti, Filippini, the most radical and politically committed representatives of Gruppo 63. Interestingly, Leonetti also invited Mario Spinella, an ‘organic intellectual’ aligned with the cultural policy of the Communist Party.
These covert strategies of calculated diplomacy, coupled with the extensive network of relationships gradually cultivated by Leonetti, which reveal his desire to unite intellectuals of varying ideological and cultural backgrounds, provide a glimpse into what another of Leonetti’s editorial projects could have been, if given the opportunity. I am referring to “Gulliver”, the international magazine conceived by Leonetti and Vittorini, and slated to be published by Einaudi, which sadly never saw the light of day.
Indeed, it was Vittorini who fuelled Leonetti’s creative enthusiasm and shaped the editorial line of “Che fare” as outlined in another letter dated March 8, 1967 (see pp. 2-3 of the pdf below). The objective was to include in each issue several meticulously written contributions aimed to capture all aspects of reality and kept very short so as to ensure readability. These pieces were then linked together – sometimes even overwritten – through notes, comments, and reflections, resulting in an encyclopaedic zibaldone capable of capturing a moment in the ever-evolving advancement of human knowledge before it vanished into the void.
[translated from Italian by Eleonora Lima]
(Images courtesy of Bitta Leonetti)
Gennaio 1967
