Loneliness emerges not only and not so much as a theme, but rather as evidence of style. Let me explain: the majority of the poems is narrated (or more often, monologata) in the first person, where the self is openly autobiographical poetic (tomorrow is my birthday / I make thirty-five, p. 15). However, very rarely the texts show that I in relation to other actors. In the first poem - en passant, one of the summits of the book - the others are equally those who had thirty-five years in 1980, and are present only as a projection of envy (and later, the indictment) poetic ego. The beautiful Fiorin poetry works with me (p. 18) makes partial exception, but even here the presence of the other became a source of confrontation and not of dialogue: its positivity does not arise as a model for me, but it raises almost a revenge motorcycle disguised as sociological prophecy that leaves no way (Florin does not know / that his grandchildren will talk like me). Here, I think the limit here is just to fake his ego to the point of frustration reabsorb in itself the presence of the other, putting in place the net and simplifying opposition that I had already criticized in the War on tuna.
This tendency to dualism is evident, for example, in the poem on p. 21 (We all have a knife in the belly) where the bliss of fish is opposed to that of man. Otherwise it happens in the poem on p. 35 (I found out), built on the opposite light-angels and men-gravity coordinates. Of course, as one of the dominant of the book is the invective, the opposition's construction is part of the game, rhetorical strategy; However, I believe that poetry should have a critical function in the sense of discernment, here obscured by the adoption of the modus invective that leads to do "all the apples" beam, projecting their own discomfort without first of all make sure that this is the case, when not denying or wishing the opposite (see Fiorin). In short, we must not underestimate the risk that the complaint or j'accusequalunquista is not just mimicry average Italian but also invades the substance poetic ego ethics.
Not enough to make a shield against loneliness and frustrated-angry ego entrench the noicollettivo of which also speaks Greek and Giulio that appears the first time only on p. 27 This is in fact part of a civil posture and collects, in its wide-ranging denotative, almost all Western individuals and about our peers. The epic vein of War to the trap is emptied, however: that book investigating a concrete past, the community was indentificabile because it had historical and geographical boundaries (and emotional) well delimitabli. Only man instead is all crushed on this (nods to the future are pessimistic soaked), the writer is no longer a witness to a historical drama that can be told but as a fencer blinded launches vacuum barbs against the invisible enemy of consumerism , comfort, depletion and approval that permeate society today (a lot about Greek cites the liquid society theorized by Zygmut Bauman). This civil ambition but reports to the risk of simplification, dell'unidirezionalità and ego impose itself on others that I have highlighted in previous paragraphs.
I can not conclude this note without mentioning what, for me (and for Giulio Greek, which in fact mentions it), is one of the protected gods of this book: my beloved Vittorio Sereni. Numerous asindetiche series (eg. He does not believe his brother to fight his friend; and this 'he' looks, apparently, ego poetic ...) are certainly a sereniana spy, although put you against the risk of stylization process, ie transformed to a stylistic choice in stylistic feature for overexposure. Sereni acts even more at the poetic level, and in fact acts in you above all the author maximally dark and despairing of Variable Star, a spokesman for a hopeless pessimism. In a famous poem (Those children playing), Sereni says that children will not forgive the bleeding of the days, our sins against love. Similarly, here we are consciously assumed generational conflict and repeated (even in the conceptual framework "X once, but now Y", where X is invariably lost and coveted): tangency can not be shown more clearly than in the concluding poem p. 36, where he wishes to kill fathers and then write oh blessed generation that of our children / they will resume their place in the universe (by the way, towards the end of the poem the poetic I do in my opinion too intrusive, wanting to explain and in an almost didactic specify). Self-destruction that Sereni hoped to himself by a mysterious killer (alone / I can not do justice to me, in the first Fear) you empowered by God, in a sort of inverted prayer (p. 31) and immediately after, as in a diptych, the pugilessa Laura. It calls for more violence, he asks those who (God, the woman) it would seem more immune; perhaps it feeds the illusion that the violence that has led to this addiction is shaken and destroyed by an equal and opposite violence, rather than by a patient work of mending and report (that is the hope, or rather the conviction that I have myself). This leads, as I said before, to a risk of monovision or one-sidedness, absent in Sereni because he faceted doubt and dialectics. The brutality (in the sense of impact, immediacy) of the content is finally also taken in style, turning away from all preciousness and chooses an average Italian. Even the verse avoids sinuous nostrana, relies little or nothing all'ipotassi and all'enjambement: prevail verses-purposing syncopated, high readability, accumulated lunge paratactic sequences without punctuation (here's teaching seems that of your famous countryman Bartolo Cattafi ), often taking up to a poem in full: as a thing that must be said here and now, with pain and urgency.
Davide Castiglione, 2 aprile 2016