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Saint Phalle invited friends from abroad to her encampment on the Caracciolo estate, where they worked alongside the villagers, altering the complexion of local life. There were artists from Argentina, Scotland, Holland, France; there were hippies and homosexuals. “Many things change, because now you live not in Capalbio but in the world,” Iacotonio said. “You have your mind set out into the world.”
Although no one suspected it, there was a connection between these two occurrences. The postman, Ugo Celletti, had been helping to create the monsters—tremendous sculptures growing on the grounds of a local estate. He’d discovered a passion for mosaic work, and as he applied slivers of mirrored glass to the monsters he sometimes forgot about his postal route. Like many other people in the area, Celletti had his life altered by the mother of the monsters, who came to Italy to build a sculpture garden that she had envisioned in a dream, decades earlier, when she was locked in an asylum: the artist Niki de Saint Phalle.
Imagery and metaphors are used to show the reader the feeling and life depiction of the person in the poem while portraying the image that reflects this....
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Life is Beautiful
I threw my hands into the air, fell back on Emily's bed, and covered my stressed eyes with the palms of my hands.
Ugo Celletti, the postman who loved mosaic work, helped maintain the garden for many years. Now two of his nephews work there as caretakers, along with Marco Iacotonio, who lives on the grounds with his wife and children, in a house that Saint Phalle had built for him. Seventy-five thousand people visit every year, most of them families with children, who scramble over the statues, dazzled by their size and their wildness. They feel, perhaps, the way that Saint Phalle wanted to feel in the garden. “I lost all notion of time and the limitations of normal life were abolished,” she wrote. “I felt comforted and transported. Here everything was possible.” ♦