"Questo per dire quanto / resta di qua della pagina / e bussa e non può entrare, / e non deve". So, with this inscription-summa Magrelli Valerio, the reader is introduced cautiously in micro-poetic universe of Variances (Giuliano Ladolfi Editore, 2015); so, with an invitation, quietly but firmly, to move in an intelligent and discreet in these pages, respecting the gray areas and the boundaries of a poetic word that, far from the 'square from all sides shapeless our soul', to quote the Montale Ossi, "it is here" to show its limits and bruises of a fragility that is, after all, human too human.The very choice of the author, Maurizio Giudice (Catania born in 1979), to look out at the landscape with a national poetic plaquette of only thirteen compositions, rather than the result of "a conception of poetry, close to Buddhist philosophy, as contemplative practice of emptiness the ENSO, the circle of symbolism zen, which circumscribes and overlook things, "writes Giuliano Ladolfi presentation, it seems modeled on an experience lived and suffered denouncing, at the end (or source) of all, a lack rending: "Ho chiamato tutti tranne quel numero, / è rimasto sulla punta delle dita, imperfetto. / L'ho composto cinque volte stasera, / era un modo per averla vicina. / Le costole, le clavicole, strappate ai tasti, sono qui, / in una parte infinitesimale della mani".
Experience, then. That certainly is rarefied by a very successful exercise in style of simplicity and subtraction of poetic diction, but with as much evidence can not ignore the real underlying dynamics in a meeting: here, dramatically, with"tuoi occhi vuoti / mentre parliamo d'altro", as it said in a text, spilling not meaningless the nomen entire work, titled Stay. In fact, when I give poetic 'voice' to this meeting, grammatically synthesized from a first person plural is always to strip gap is unbridgeable or precarious moments or years that reveals strangeness: "Calcoliamo il perimetro degli oggetti, / lontano dall'abitarli"; "Spenta l'ultima lampadina, restiamo / con le dita attaccate alla notte"; "Abbiamo attraversato vent'anni, / ma non sono serviti a renderci familiari".
In this scenario the poetic word no consolation; He withdraws, leaving the field open to the advancing desert:
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.
But, we would like to annotate, that of Maurizio Giudice not distrust in the power of speech, rather it is a lucid awareness of the abysmal gap between writing (which makes the experience 'readable') and sediments of reality, that is how to tell between the absence in the present and a phantom presence always placed in the memory:
Le dita non trovano la strada, sono trasparenti
le costole, il ventre. Le dita non trovano più la strada
che le tue gambe, come un orologio,
segnavano così bene.
The silence - or the empty Buddhist called graphically by its cover - then it is not enough:
Così che il silenzio non basta,
bisogna raccontarlo, indicarvelo
col dito - un rumore
ininterrotto,
fermarsi: ecco.
It is here, from this fund indistinct sound, uninterrupted by a tear, that the poet was born. And the poem.
Pietro Russo