Epitaph by Barbara Traber, Swiss writer and former editor of the Swiss literary magazine “orte”

Following the Milky Way to the End of the World
On the death of Virgilio Masciadri (23.11.1963–8.5.2014)

In June 1993, Virgilio Masciadri’s name first appeared in the imprint of issue 84 of orte, dedicated to “Poesia dall’Italia del Nord 1960–1990.” It contained numerous Italian poems “translated by the orte editorial team,” meaning by Masciadri! He contributed to over 90 (!) issues of orte, spent at least 400 hours in editorial meetings at the “Weinstube” at Zurich’s Central, and wrote minutes, editorials, introductions, fund– und zünd-orte, and reviews; he also participated in juries, literary festivals, and made an immense contribution to the orte publishing house.
When the orte editorial team held a literary debate in a “home game” in 2006 (orte 146), Virgilio Masciadri opened the discussion with a quote from Joseph Brodsky, stating that literature, as moral reassurance, was more reliable than any belief system or philosophical doctrine. Virgilio added: “Creating literature is not a science you can study — what it really means, you learn over time and by doing it.”
This was said by an intellectual who was vastly superior to us — but never made us feel that way! Virgilio Masciadri was born in Aarau, Switzerland, in 1963, studied in Zurich and Paris, completed a habilitation on ancient mythology, and taught Classical Philology and the History of Religion at the University of Zurich. But he placed his academic career second, dedicating himself passionately to literature — his true calling — and to the people behind it.
After his untimely death on May 8, 2014, we were shaken by the immense gap he left. “Something like absolute presence” was the title of Ueli Schenker’s brief portrait of Virgilio Masciadri (orte 146). He was always fully present, focused, intelligent — yet a playful poet. We picture him at the table in the “Limmathöfli”: a quiet center of attention, calm, precise, ironic and humorous, sometimes wise, often laughing with cheerful exuberance. He eloquently distilled the most complex topics to a common denominator, and even the fiercest disputes among hotheads ended peacefully. He radiated italianità, charm, elegance, cheerfulness, and had patience bordering on gentleness — a born diplomat even with the most difficult people (i.e. poets).
Legendary is issue 88 (1994), featuring a supposedly Mexican poet named Mengia Rauch (“Only she knows the beaten path”) — an invention of the orte editorial team? It includes a delightful literary commentary by Vicente Rodriguez Miròn (1984).
Virgilio applied his many talents effortlessly and with natural authority: as a committed player at orte, at the magazine, and at SWIPS (Swiss Independent Publishers); as a tactful editor (and teacher); an excellent translator, publisher, critic, reviewer, organizer of literary events, moderator, and promoter… Always reliable, somehow ageless, a colleague and friend, brother, substitute son, or companion on literary walks from Rütegg to Wald. He manned the orte booth at book fairs and the Solothurn Literature Days, carried books, handled the accounts…
His sensitivity and intensity, his mastery of form, and his love for the Como region (his origin) as well as for French culture are reflected in his poetry: Heimatveränderung (Zeitzünder 6, 1992), the three fund-orte volumes Gespräche zu Fuss (1998), Wegen Marianne (2002), and Das Lied vom knarrenden Parkett (2010) — all still available. A kind of legacy.
His first orte crime novel appeared in 2003: Schnitzeljagd in Monastero. Smoothly written and highly literary, a gem — but completely different from usual action thrillers. Surreal, fantastic, and historical elements find their place, and the young narrator Massimo must discover who is writing the haikus that keep appearing. In 2009, he followed up with Dämonen im Murimoos, drawing on his experience as a teacher. He took crime fiction seriously: “It is a basic form of literature, no less dignified than great tragedy.”
Issue 149 became a unique event: Roberts Luftschiff. Musiktheater zu Robert Schumann, for which Virgilio Masciadri wrote the libretto, also used as the program booklet. Further poetic libretti were created in collaboration with musician Anna Merz.
In 2013, Karl Bernhard published Zürcher Mercuriositäten. Wie Merkur die Limmatstadt beflügelt (Orell Füssli), where we got to know our friend’s scholarly side through his brilliant essay Hermes. A Multiform God of Antiquity.
One would rather draw a veil over Virgilio Masciadri’s final years. With admirable courage, clarity, and bravery, he faced illness, pain, and suffering. We worried and hoped with him. And so, for comfort, we imagine Hermes with winged sandals guiding Virgilio — this fine person — into the beyond, perhaps in Robert’s airship from The Airshipman Giannozzo by Jean Paul. We will try to carry on in his spirit.