By Una (Giuliano Ladolfi Editore, 2012) Maddalena Bertolini takes the reader inside this path - just left the area public and private , almost always bathed in a light of pregnant affective encounter with the people , the elements of nature , temporality , work - is already stated in the title, bisillabo a term , high-impact load in her assertion , which, however, remains problematic because it inclines the reader to reflection : it is indefinite article that insinuates a nebulosity which adhere to clearly moving in every direction, but prefigured by a straight line , the order to identify later on what it is that is light and spark protected by uncertainty or is this mysterious name that includes in itself a kind of anonymity indifferent provocative and mocking , as the name under and inside it holds significant power , ancient , more exactly archaic as wisdom ?
From here - from both faces of the term - it's off to the exploration of the poetic world of the poet of Pergine , which opens like an open house in the summer the territories of the metaphysical contents are strongly implicated in the use of the word , which, to ' appearance in common use , resonates for internal strength to image connoting a powerful and grace and diligence as a hand raised in blessing , while you are in the world without forgiveness :
vado sotto la coperta della pioggial’acqua mi cerca. Gocciolo comeun albero o un lampione comequel cane curioso. Sono un segugiod’acqua sembro perduto: lei chiamail rabdomante e l’uomo tremacon il ramo tra le braccia trema ogni fibraogni mia consistenza, tremo sorgivafreddissima e allegra, giro su mestessa come un’auto che sbandati prego non frenare, lasciami scivolarea capofitto sotto il parapettonel buio di un abbraccio
This first poem, which states that you can embrace everything, you become everything, if you are willing to assume in self confidence and courage, bringing in the feel and make every drive because it is necessary to travel to the meeting with the self complete - privilege therefore also for the ontology of the poetic word - it introduces to the crescendo that is developed for a numeric sections are down to the last, which not coincidentally is stated in the minutes of the end of the present tense and the first person, singular as well.
In the middle, in the numeric sections, takes place on the path of creating their own specificity in constant relationship with what constitutes and who shares the time of the poet, his dependent and independent variables, its hurting world without succumbing to pain or human misery :
ho messo nella vita tanti figlitanti urti quelle notti sbattutele porte premute sulle assenzee sempre le chiamate:arrivo!l’avamposto della voce arrivo, ancora non lo vedoma quel verbo mi appende come un chiodo
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fuori sede tu parti e piove: usciamo prestocon l’alba alle caviglie in questo odoredi cuore calpestato. Io guido e tu haiaddosso la barba e la tenerezza del sonnola luce finge di non vederlo e tiseduce. È facile per lei amarti solo perchéal buio non esiste. Tu parti, il trenosi allontana e il temporale si avvicinala pensilina è una pista d’aereola stazione è già volata via come un piccionea cui ho dato un panino e un bacioNella sezione sei incontriamo:
pietra dobbiamo parlare io e te adessosono i miei figli a salire a cercartia arrampicarsi e godere delle tue gole deifianchi i diedri delle tue pareti bastardee redente. Devi accettare il mio patto- risparmia i miei uomini - e lo soche tanto non mi senti e non ti muovonole mie carezze e nemmeno le loro.Lo sai vero che ti amo, che tusei fatta per me mi fai venir vogliadi tutto così conficcata nel pettocosì bella (chissà com’è bellotuo padre)In dialogue with nature - that does not interrupt the dialogue with the affective family and indeed brings a connotation of loving and admiring participation - you feel a feature that connects to other poets of the Tridentine ways : always goes to the home ' meeting - in a sort of sacred devotion and sacred tremor - with the " ... tips / all mountain / / ... and I return whole ." Here, in the centrality of the street identification, Bertolini Magdalene testifies that Arthur Schopenhauer ascribes to the concept of principium individuationis , namely the principle of reason which gives the " will to live , which eventually leads to self-restraint in the concatenation of space, time, and causality " the characteristic of being - from the beginning - infinite and free.
The section takes the path alchemical in this collection in which the voltage has not fallen poetry and indeed expresses , in constant " upbeat " music , the presence of a guide finalistic crossing as a viatico the lived connotations , reaching the goal of splendid ' integration in the completeness of the self :
ultima
…Quando mi togli dagli occhiquesto sguardo corto (lo detesto)mi fai vedere con tutto ridere di tuttoho il dito puntato sull’allegria del ritornoAdriana Gloria Marigo