With disarming simplicity and intensity of his poetry, Maurizio Cucchi has earned the restaurant crowded public rushed to the Busa of Noventa Vicentina to meet him. In During the meeting, organized by the Library in collaboration with Andrea Ponso Athena, the Milanese poet gave a reading of poems from all his books, from The lost his most important poetic debut, until recently For a second or a century. A poem, that of Cucchi, had as its goal the fragment size and the romance between the vulnerability of the subject-protagonist and the sweet and disturbing clarity that comes from it. Cucchi added to the reading of his poems and short stories and comments, prompted by questions from the audience, also spoke of his novel Evil is in the things and his work as a promoter of poetry and a talent scout.
- One of the things that immediately strikes in his poems is the use of a humble, everyday language. There is a reason behind this choice?
I always thought that poetry had to use every kind of experience and any type of language. There are no poetic words and words are not poetic. Indeed, there is nothing less than poetic poetic. The poem takes truth feeding with low or spoken language or expressing humble and everyday life experiences, behind or in which, often, move the decisive issues.
- His poetic journey, taking up the scans made by Alba Donati, can be divided into three stages: initially represented by The Missing and The wonders of water, a phase transition with and Glenn Women game, and later characterized by the detachment light, the source Poetry, The last journey of Glenn and ultimately also from her latest collection For a second or a century . It is recognized in this partition?
I always thought that poetry had to use every kind of experience and any type of language. There are no poetic words and words are not poetic. Indeed, there is nothing less than poetic poetic. The poem takes truth feeding with low or spoken language or expressing humble and everyday life experiences, behind or in which, often, move the decisive issues.
- His poetic journey, taking up the scans made by Alba Donati, can be divided into three stages: initially represented by The Missing and The wonders of water, a phase transition with and Glenn Women game, and later characterized by the detachment light, the source Poetry, The last journey of Glenn and ultimately also from her latest collection For a second or a century . It is recognized in this partition?
Alba Donati's essay is excellent, and if he has probably seen these steps were. I do not know. I have personally seen and heard a clear difference between the first and second book, as can be seen even by a recovery of confidence in opera and in a less "dirty". Then there are particular stages as Glenn, who wanted to be a story in prose and then became a poetic prose. And then the posting Light, which began as a text for the theater, and bade me a challenge: to maintain the intensity and complexity of expression but also find a strong possibility of communication, immediate, because the scene demands it. Especially from some of the texts Poetry source I heard a clear need of clarification, which is continued in an even more explicit in the most recent book, For a second or a century , where I also made use of poetic prose.
I want to say, given the increasingly widespread misunderstanding that the father figure has nothing to do at all with the dispersed , that over all, more than a real character, is a symbol, a figure multiple. I do not understand how to read the book you might think the father figure. Yet more than one did. Apart from the fact that a critical biography that mixes text and is truly rudimentary.
- In all its collections will be at a high voltage to the prose and a narrative dimension that goes to pieces. How come there is this strong move towards the prose?
I've always loved the prose, fiction, of which I am an eater. I also always wanted to make the text around different figures, and opened the door to the outside, create situations, and then reduce the space opera of self and replace it from time to time, with a dummy I am, a narrator, a character who speaks in first person but not me. In any case, the formal economy, language, his need for brevity, they never go to the prose, or at least stop before you get there.
- What causes this process to pieces and his difficulty to sew a pattern? Has some meaning, even existential, and ethical, in his poetry?
The plots do not interest me. It seems to me that they close the virtual and the openings of the possibilities introduced by the situation. I also believe that the rational combination of circumstances apparently unconnected create friction, produce energy. The fact, moreover, is never normally organized as a normal succession of narrative sequences.
- With The evil is in this narrative dimension things unfolded in the novel itself. How was this? Work? E? true that its originally built in the early '60s, even before the publication of The missing?
The novel was written entirely between '65 and '66. The final episode, decisive, is actually a story of '63, and remained as such. In '65 when I wrote the novel (which was originally called Peter 's disease), I realized that this story was its conclusion. The book has stayed with me always in my head, in the sense that the perception of the reality of his protagonist I've always belonged. Last year I decided to complete the text in the sense that I have turned a green text in a text which I hope will mature, bringing the story to the present and drying style. Characters and situations are the same, except for some minor surgery. The reason why I wrote it could be summed up in two words: compassion cruel. The protagonist., Peter, a thirty year old, sees the most authentic human existence. Or at least what it believes: that the moment when it was helpless, helpless, with no social masks. Peter trial tenderness and sympathy for those moments of people around him. Except that is taken by a strange temptation, perhaps animal, perhaps childish, perhaps pathological, which can not resist: to hit, to hurt defenseless where he sees weakness. In fact, in so doing, being aware, especially if the same hits.
- The end of the novel takes one of his poems ... What is the relationship between poetry for her and the novel?
No. 'poetry Pending drama that takes up the story I had written many years before, and that, as I said, I was always in mind. Poetry and romance are two very different things. Switch between them is difficult. I was able to do so only because I had already written the text, and so long ago, long before I devote himself to poetry. Come back to it was different than writing from scratch to put a novel or story. What I never did or I never succeeded.
- She is very active as a discoverer and poetry of the propeller of the new generations. Proof of this is the book that holds the press and the recent antologia mondadoriana Nuovissima poesia italiana . Che idea si è fatto su questi giovani poeti e su questa nuova poesia? Ci sono dei veri talenti?
La nuova generazione è molto attiva e viva. I nuovi poeti o aspiranti tali sono numerosissimi. In queste senso il fenomeno mi sembra senza precedenti. Viste le tendenze dell'oggi alla confusione e all'introduzione di surrogati ed espressioni della cultura di massa o di varietà come soluzione vincente, credo che la generazione dei giovani e giovanissimi sia decisiva per la riaffermazione della poesia come momento centrale dell'espressione artistica autentica, e anche per la formazione di un pubblico reale, che è la cosa più importante e che in parte, in futuro, potrà consist of the same writers of today who have not reached the goal, but they have been able to keep the love for poetry. In any case, there are real talents, and how. There are important books ready or almost ready. The near future will prove it, I'm sure.
- What advice would you give to a young man who chooses to express himself through poetry?
not being influenced by a variety-trash around. To read and love poetry, the poetry (and poetry, I also mean, of course, the narrative quality and gender), not to confuse deep expression and entertainment, not to fall into the trap of poor substitutes, like song, thriller, noir, comedy, tv varia e affini.
- Raboni, in un articolo comparso su Il corriere della sera si chiedeva: "La poesia è irreversibilmente morta oppure è viva e lotta con noi?" Qual è, a suo avviso, lo stato di salute della poesia nella società contemporanea?
La poesia c'è, è molto vitale, e lo dimostrano proprio i ragazzi che scrivono. L'ascolto, purtroppo, è gravemente insufficiente. E questo si deve soprattutto alla mancanza di informazione, visto che i media tendono a ignorarla. I gestori della comunicazione e dell'informazione in generale non amano e non conoscono la poesia, per cui dicono: "Al pubblico non interessa". Invece è a loro che non interessa, ma con questa convinzione escludono the public, however, when reached in an appropriate manner, always responds.
- As Milo De Angelis and Cesare Viviani and other poets of Milan, Milan, also in his poems, his city, has a leading role?
has an important role of background, environment, although it is not the only one. I was born in Milan, I love my city, and therefore what happens to me happens here. Normal is present in the texts.
- How and when is the sacred fire lit in her poetry? Which poets have been crucial to its formation?
There is nothing sacred in poetry. As a boy I thought I could be myself if I could express myself, do something that concerned me deeply, and do so using the word. Among the poets we have been decisive especially Eliot and Pound when I was a kid. Then I have to mention the great novelists of the early twentieth century that I devoured between eighteen and twenty years: Kafka, Proust, Musil, Joyce. And to give birth to my poetic language, if there is, my teachers in Milan: Sereni, Raboni, judges, Majorino, as well as Zanzotto Risi and on which I graduated. All these authors have to much recognition.
I want to say, given the increasingly widespread misunderstanding that the father figure has nothing to do at all with the dispersed , that over all, more than a real character, is a symbol, a figure multiple. I do not understand how to read the book you might think the father figure. Yet more than one did. Apart from the fact that a critical biography that mixes text and is truly rudimentary.
- In all its collections will be at a high voltage to the prose and a narrative dimension that goes to pieces. How come there is this strong move towards the prose?
I've always loved the prose, fiction, of which I am an eater. I also always wanted to make the text around different figures, and opened the door to the outside, create situations, and then reduce the space opera of self and replace it from time to time, with a dummy I am, a narrator, a character who speaks in first person but not me. In any case, the formal economy, language, his need for brevity, they never go to the prose, or at least stop before you get there.
- What causes this process to pieces and his difficulty to sew a pattern? Has some meaning, even existential, and ethical, in his poetry?
The plots do not interest me. It seems to me that they close the virtual and the openings of the possibilities introduced by the situation. I also believe that the rational combination of circumstances apparently unconnected create friction, produce energy. The fact, moreover, is never normally organized as a normal succession of narrative sequences.
- With The evil is in this narrative dimension things unfolded in the novel itself. How was this? Work? E? true that its originally built in the early '60s, even before the publication of The missing?
The novel was written entirely between '65 and '66. The final episode, decisive, is actually a story of '63, and remained as such. In '65 when I wrote the novel (which was originally called Peter 's disease), I realized that this story was its conclusion. The book has stayed with me always in my head, in the sense that the perception of the reality of his protagonist I've always belonged. Last year I decided to complete the text in the sense that I have turned a green text in a text which I hope will mature, bringing the story to the present and drying style. Characters and situations are the same, except for some minor surgery. The reason why I wrote it could be summed up in two words: compassion cruel. The protagonist., Peter, a thirty year old, sees the most authentic human existence. Or at least what it believes: that the moment when it was helpless, helpless, with no social masks. Peter trial tenderness and sympathy for those moments of people around him. Except that is taken by a strange temptation, perhaps animal, perhaps childish, perhaps pathological, which can not resist: to hit, to hurt defenseless where he sees weakness. In fact, in so doing, being aware, especially if the same hits.
- The end of the novel takes one of his poems ... What is the relationship between poetry for her and the novel?
No. 'poetry Pending drama that takes up the story I had written many years before, and that, as I said, I was always in mind. Poetry and romance are two very different things. Switch between them is difficult. I was able to do so only because I had already written the text, and so long ago, long before I devote himself to poetry. Come back to it was different than writing from scratch to put a novel or story. What I never did or I never succeeded.
- She is very active as a discoverer and poetry of the propeller of the new generations. Proof of this is the book that holds the press and the recent antologia mondadoriana Nuovissima poesia italiana . Che idea si è fatto su questi giovani poeti e su questa nuova poesia? Ci sono dei veri talenti?
La nuova generazione è molto attiva e viva. I nuovi poeti o aspiranti tali sono numerosissimi. In queste senso il fenomeno mi sembra senza precedenti. Viste le tendenze dell'oggi alla confusione e all'introduzione di surrogati ed espressioni della cultura di massa o di varietà come soluzione vincente, credo che la generazione dei giovani e giovanissimi sia decisiva per la riaffermazione della poesia come momento centrale dell'espressione artistica autentica, e anche per la formazione di un pubblico reale, che è la cosa più importante e che in parte, in futuro, potrà consist of the same writers of today who have not reached the goal, but they have been able to keep the love for poetry. In any case, there are real talents, and how. There are important books ready or almost ready. The near future will prove it, I'm sure.
- What advice would you give to a young man who chooses to express himself through poetry?
not being influenced by a variety-trash around. To read and love poetry, the poetry (and poetry, I also mean, of course, the narrative quality and gender), not to confuse deep expression and entertainment, not to fall into the trap of poor substitutes, like song, thriller, noir, comedy, tv varia e affini.
- Raboni, in un articolo comparso su Il corriere della sera si chiedeva: "La poesia è irreversibilmente morta oppure è viva e lotta con noi?" Qual è, a suo avviso, lo stato di salute della poesia nella società contemporanea?
La poesia c'è, è molto vitale, e lo dimostrano proprio i ragazzi che scrivono. L'ascolto, purtroppo, è gravemente insufficiente. E questo si deve soprattutto alla mancanza di informazione, visto che i media tendono a ignorarla. I gestori della comunicazione e dell'informazione in generale non amano e non conoscono la poesia, per cui dicono: "Al pubblico non interessa". Invece è a loro che non interessa, ma con questa convinzione escludono the public, however, when reached in an appropriate manner, always responds.
- As Milo De Angelis and Cesare Viviani and other poets of Milan, Milan, also in his poems, his city, has a leading role?
has an important role of background, environment, although it is not the only one. I was born in Milan, I love my city, and therefore what happens to me happens here. Normal is present in the texts.
- How and when is the sacred fire lit in her poetry? Which poets have been crucial to its formation?
There is nothing sacred in poetry. As a boy I thought I could be myself if I could express myself, do something that concerned me deeply, and do so using the word. Among the poets we have been decisive especially Eliot and Pound when I was a kid. Then I have to mention the great novelists of the early twentieth century that I devoured between eighteen and twenty years: Kafka, Proust, Musil, Joyce. And to give birth to my poetic language, if there is, my teachers in Milan: Sereni, Raboni, judges, Majorino, as well as Zanzotto Risi and on which I graduated. All these authors have to much recognition.
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