Mario Petrucci | |
|---|---|
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| Born | Mario Petrucci Lambeth, London, UK |
| Occupation | Poet, physicist, ecologist |
| Nationality | British / Italian |
| Citizenship | United Kingdom |
| Alma mater | University of Cambridge, University College London, Middlesex University |
| Genre | Poetry, Science, Education |
| Website | |
| mariopetrucci | |
Mario Petrucci (1958) is a British-Italian poet, literary translator, educator and broadcaster. He was born in Lambeth, London and trained as a physicist at Selwyn College in the University of Cambridge, later completing a PhD in vacuum crystal growth at University College London. He is also an ecologist, having a BA in Environmental Science from Middlesex University.[1] Petrucci was the first poet to be resident at the Imperial War Museum[2] and with BBC Radio 3.[3][4][5] He has broadcast extensively on radio, including the BBC’s Kaleidoscope, London Nights, Sunday Feature, Night Waves, The Verb and BBC World Service, as well as on BBC TV.[6]
Petrucci's poetry debut, Shrapnel and Sheets (1996), won a Poetry Book Society Recommendation.[7] Ensuing literary awards include the Irish Times Perpetual Trophy, the Daily Telegraph/ Arvon International Poetry Prize, the London Writers Competition (a record four wins), the Sheffield Thursday Prize (twice), the Bridport Poetry Prize, and the Silver Wyvern Award. Altogether, between 1991 and 2005, Petrucci won a total of 22 national and international open poetry competitions.[8] Petrucci's poetry has also appeared in such outlets as The Spectator and The Independent,[9] and has been noted in the Daily Mail, The Daily Telegraph and The Guardian, with his diverse collections drawing inspiration situationally from key cultural sites, or exploring his core themes of love/loss, the tragedies of warfare, and science in the natural world.[1]
A prolific poet, Petrucci's style and forms have constantly evolved. This gave rise to the vast i tulips sequence, his key experimental undertaking consisting of 1111 poems (with a 1111-line coda in 11 parts) described by the Poetry Book Society as an "ambitious landmark body of work”.[10] Endorsed by Roy Fisher and Bill Berkson, the project combined rich imagery with a freshly-invented undulating form, proceeding through hundreds of variations, to generate "an energetic fusion of American and British modernism".[1] Petrucci is also a literary translator: 2018 brought his English versions of the Persian mystic poet Hafez via Bloodaxe Books, and in 2022 he was invited by the Society of Authors to judge the John Florio Prize for Italian translation. He has published versions of Catullus, Sappho, Rumi, Saadi and the Nobel-winning Eugenio Montale.
Petrucci's poems, short stories, articles and essays often investigate cross-disciplinary concerns (creativity, politics, science, the environment),[11][12] for instance the role of eco-art in dissolving society's resistance to pro-environmental change.[13] He has also been much involved in the educational sector,[14][15][16] in creative writing and literary mentoring, melding scientific and ecological awareness with creative writing praxis.[17][18][19] Petrucci was instrumental in a number of influential London-based literary initiatives, including the experimental collaborative 'co-vocal' poetry performance troupe ShadoWork, the Arts Council/ London Arts funded organisation writers inc. which ran prominent workshops and events, and the poetry magazine The Bound Spiral.[8] He has engaged with a range of cultural organisations, including the Royal Festival Hall, the Charles Dickens Museum, Southwell Workhouse, the Royal College of Surgeons of England, the European Space Agency, the London School of Economics, the Wellcome Foundation, and the Natural History Museum, London; he was also Royal Literary Fund Fellow on four occasions, at Oxford Brookes University, University of Westminster, Brunel University London, and the City and Guilds of London Art School.[11]
One of Petrucci's several critical-theoretical innovations in poetry is his nesting of concrete poetry within a larger concept he terms Spatial Form.[a] [20] This goes far beyond the overt spatial signals generated by a poem’s concrete shape or its chosen form and layout: Spatial Form incorporates all aspects of the poem's visual gestalt as physically manifested on the page, including such subtleties as typeface or the visual textures of repeated letters.[21][22] Petrucci also coined the critical terms 'Poeclectics'[23][24] and 'sonic stitching',[25] and is first proponent of the new prose sub-genre 'Eco-sci-fi Flash Fiction'.[13]
Petrucci's poetry has been deployed in a number of films. Heavy Water: a film for Chernobyl and Half Life: a Journey to Chernobyl were two sibling features (by Seventh Art Productions)[26] built around his award-winning poetry sequence on the Chernobyl disaster.[27] These films have garnered awards such as the Cinequest, as well as screenings on mainstream television and at major cultural venues such as Tate Modern (in 2007).
2012 saw Petrucci shortlisted for the Ted Hughes Award[28] with a monumental poetry soundscape (among the largest ever created) entitled Tales from the Bridge.[29][30][31][32][33] Commissioned by the Mayor of London, this installation spanned the Thames as part of the London 2012 Cultural Olympiad. Composed as a complex overlapping hybrid prose poem, and performed using subtle sonic textures with multiple interleaving voices, Tales from the Bridge was "assembled from literary forms such as short poems, atmospheric descriptions, local anecdotes, facts and figures".[34] Collaborators for the project included Martyn Ware (The Human League) and Eric Whitacre, whose music was used. The soundscape played for two months along the entire length of the Millennium Bridge and was experienced by an estimated 4 million people.[35]
