This is a plaquette of 44 verses distributed in 13 texts: do not write to point out a kind of strangeness or uniqueness, but to highlight how determinedly the author has reduced to a minimum his work, to the threshold of scarnificando total white of the page in your own handwriting. The back cover is called the practice of contemplative Buddhist emptiness that nell'ensō (the circle of symbols zen depicted on the cover) their representation; right and, for my part, I would also refer to two concurrent trends of contemporary poetry, one of which prefers to prune to the bone writing, in deliberate opposition to the noise and nonsense that would engulf everything and every thought. There is an implied criticism of this redundancy, often vain or narcissistic and the two verses on page 13 open work are conclusive in their conceptual value:
E quando arrivi hai davanti il muro, la corsa verticale.
Le evoluzioni, in uno spazio addensato, sono millimetriche.
We recognize here the sense of a writing that, being aware of the limitations of the real ontological existence and implements changes, precisely, millimeter and the wall, which could also be the page almost entirely white around a very few lines of text, if you acceptedIt reveals the only possible space to shape thinking. Indeed:
Non alle cose che verranno,
ma alla custodia di queste, al pane
mangiato in fretta, ai tuoi occhi vuoti
mentre parliamo d’altro (PERMANENZA, pag. 15).
The concept of housing is associated with the evolution of millimeter which are the variances of the book's title, minimal changes or shifts or transformations that superficiality and haste neglect, meditative practice and accurate grasp of writing, not to mention the many facets and implications in various fields of human action that has the term varianza:
Così che il silenzio non basta,
bisogna raccontarlo, indicarvelo
col dito – un rumore
ininterrotto,
fermarsi: ecco (pag. 17).
And even in this case Giudice compares with a topical theme of contemporary poetry, ovverossia the dialectic between sound and silence and silence again takes the visible figure of the white of the paper, wall and space following the deictic "here". And sometimes what it means, which points out, that you look through the eyes of writing is a desert barren and depressing, dehumanizing:
Ai margini non ci sono nomi, ma corridoi vuoti
e macchinette rotte (pag. 19).
Then comes the suspicion that poetry is something similar to what is set out in the three following verses, exploration perimeters of which, however, do not make us penetrate objects, in a permanent distance (unbridgeable and totally refractory) that writing keeps shrinking itself to a laconic limits of silence:
I GATTI
Camminiamo vicino ai muri.
Calcoliamo il perimetro degli oggetti,
lontano dall’abitarli (pag. 22).
And indeed:
Il deserto avanza: nella rubrica telefonica
i numeri hanno cambiato di posto,
non trovo più le facce, i luoghi, le date.
Il deserto sale, ripara le pieghe dei nostri passaggi (pag. 25).
Antonio Devicienti
Via Lepsius