"It is not clear today whether the signals that are picked by people, talking and working with them, sharing spaces and interests, are really those of a permanent change in the horizon of the present life." With these words, Gian Mario Villalta introduces the new book of poems “La direzione delle cose” by Roberto Cescon, Giuliano Ladolfi Editore, 2014, (euro 10,00).
Villalta seems to refer to a "generation entrant" trying to give the signal of a definite change of this through word of poetry.
But who are these new poets? What story do they have? Who are their fathers? What will determine the horizon poetic change? It will be a real change? "It is not the loss of past and future - adds Villalta - to haunt the sequence of notes in the verses of Cescon, but their already destined to be always in a dimension of intangibility, the exclusion of a real chance to be a living force of 'acting (and thinking) everyday. "
What makes you think Villalta says : There will be terrible opponents to the vocation and destiny of a poet as Cescon . In this sense I would say that nihilism is understood as a denial of a "real" world and " live " in the poem , it may be an extremist way of thinking , is not justified.
The work of Cescon , divided into eight sections, is unitary. The book is a cross-section of the newspaper , in its continuous unfolding . There is a family that is made up , which decorates the house with Ikea furniture , fitting , then , to live in "modules" pre-built "almost happy." And that "almost" that says it all is the lack of a resignation , as when Cescon writes: " The fridge is a steppe packs / are always there, even to forget / day due to expire ." There is resignation, discontent , in these words , a quiet renunciation, something is out of this microworld of things . Cescon seems to be " ambiguous" , not in a negative sense ; suggests an ego that tells , which is seen from the outside. It brings to mind "Life in verse " by John Smith , as if the author was looking for a partner , another self . The language search dell'osservarsi merciless clarity , the language is direct and agile , and poetry away from the act of poetry. A challenge or a change of course ? Why does not his poetry is the revelation , the word , sometimes raw, simplifies and amplifies a generational discomfort .
The verses seem to confirm the exclusion , and say , mercifully, that this is a poem that wants to exist in the future, and there must be reborn as a break with the previous generation : two solitudes different meet, to be more together on the front door house .
Roberto Cescon , the son of a generation of poets born in the late seventies , the bearer of a "new" generation takes his time , devoid of mystery, with a poem from anesthetized daily life.
Against the background of this work, seems to prevail over all , just the discomfort generational exclusion from their own time , there is a need to get the word of the poem in the " right " time to take charge, totally .
The apparent tranquility of the mean, shows the contradiction of this : nell'anonimia that this condition requires disappears, individual history , writing Cescon enters the story of all , telling any life , his life, and any life.
Reading Cescon the serious question we must ask is : which direction you are taking the poem in the new generations ? Why do you feel the effort to take on a renovation of the poem , to give the right direction to this "thing" we call poetry? Because maybe one direction the poem does not have it and can not be angry .
The poem is entitled " The avant-garde is over" makes us understand , clearly , what is the direction that takes Cescon : "It is time to destroy or escape, / we should be there beside / understand that the road is also what we have. "Poetry of the things it folds in on itself, relies on the fate of the word , aware of loneliness " to be more together on the front door . "
Roberto Cescon stating its historical distance garde group introduced by '63 , and leads us to a more questions , but where are the other poets born between the forties and fifties who also moved away from a political vision of poetry? These poets , we have had them of the ' fathers ' ? And those born in the sixties? They are children of a new way of making poetry , or simply orphans?
We must ask ourselves these questions and book Cescon lends itself to this reflection.
Il servomuto
Raccolgo il giorno nei gesti che sono
levare la camicia, piegare i pantaloni,
unico proposito di ordine.
Sui vestiti c’è il mio odore, fumo e pelle.
Rivedo le parole già dette
e quelle mancate.
Ora il servomuto ha la mia forma,
la sensazione di perdersi nel tempo
e non averne mai abbastanza.
Qualcosa resta sempre addosso
le domande per esempio ogni sera
che stisciano quando spengo la luce.
Tutta la vita a spogliarmi
mai veramente del tutto.
Luigia Sorrentino