In the 15th June 1913 issue of the Italian literary journal ‘Lacerba’ there appeared a page of maxims entitled ‘Accenni’ attributed to one ‘Gian Paolo’.
‘Lacerba’ was published in Florence from 1913-1915, edited by Giovanni Papini and was associated with the emerging Futurist movement. This particular issue amongst others also featured pieces by leading figures such as Filippo Tommaso Marinetti, Ardengo Soffici, Max Jacob and even an illustration by Pablo Picasso.
Vladimir Čerina, an exponent of Kamov, was also a contributer. It was most likely under his auspices that these fragments of Kamov’s maxims were included under the pseudonym of ‘Gian Paolo’, in ‘Lacerba’ in 1913 three years after his death. Čerina had alluded to their publication in his study of Kamov published earlier in the same year, although they were not properly authenticated until the mid-1980s by Tonko Maroević and Dragutin Tadijanović.
Gian Paolo – Accenni
translated by Martin Mayhew from the Croatian translations of Tonko Maroević
A good way to forgive someone who is angry at us because of some non-existent insult is to really insult them.
If a man just wants to grow old and remain permanently healthy there is no more useful exercise nor better exposure to the fresh air than begging.
The greatest number of fatherly and nitpicker’s advice resembles the sign on certain entrances: “Closed”, and which cannot be read when the door is open and the doorframe is up against the wall.
Within human contradictions there already exists man’s belief that there are none.
I was infuriated by of the noises that people were making below my window and I only fell asleep again when I found out that they were horses.
On one foot life wears a cothurnus, whilst on the other a clown’s slipper.
The one who is carrying the lamp will stumble sooner than the one who is following him.
The wheel of fortune transports the upright but breaks the bones of the recumbent.
I cannot imagine anything more insane than our life, our Earth, our people and our comprehension of this insanity.
The ancient, incurable cancer of philosophy: contrary to the misconception of ordinary people who believe that they understand something just because they see it, it, however, assumes that it sees something just by thinking about it.
At the moment of death there is no more extravagance because death is the ultimate extravagance.
Dying one doesn’t recognise the present only the future and the past.
In their most sublime notions philosophers always describe a single circular line; I however happily note their arrangements as architects mark the lavatories on the ground plan of some building, it’s like a circle with a dash… Each one has a dash which serves as a handle.
I (perceived empirically) detest myself (perceived absolutely), the dreadful demagogue who resides inside me.
If decapitation did not deprive life, nobody would worry about it.
Man’s eternal hunger, the insatiableness of his heart, does not seek more abundant food but more varied, in other words, it wants a meal instead of just grazing.
To a dumb animal the world represents a unique impression, and in the absence of two it doesn’t even know to count to one.
Spiritual beings are similar to the physical who, according to the opinion of ancient Romans, had to touch the Earth in order to learn how to speak.
It is easier to sacrifice oneself for people than to love them.
Clothes are a weapon which beauties fight with; and, like soldiers, they discard them as soon as they are defeated.
Great spirits begin to despise themselves first of all.
Rather than his duty man does more than his duty.
The greatest blessing of philosophy is not that it makes us happy when we are in distress but when we are happy.
If Miss Robinson Crusoe found herself on a deserted island with no one else but her own reflection in the water, she would nevertheless make and wear the latest fashionable clothes every day.
Translation – all rights reserved © Martin Mayhew
Note: The 15th June 1913 issue of ‘Lacerba’ can be found for sale on the Internet and I have only come across the front page and not the page featuring Kamov’s ‘Accenni’. If a copy is available I would very much like to see it in order to compare and back translate the Italian versions with the Croatian, and therefore improve my English versions.