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(This is the full version, about 2000 more characters long, of an article I wrote about a year ago. The sentence that I have chosen nel primo post di questo blog viene proprio da questo incontro davvero scoppiettante).
Nella suggestiva cornice del Teatro Civico di Schio, Fernando Bandini ha chiuso con raffinata eleganza il quarto ciclo di Poesia/Poesie, Incontri con la poesia contemporanea . Immune dalla logorrea autobiografica che spesso contagia molti poeti, Fernando Bandini ha subito sottolineato la sua incapacità di autodefinizione, non tanto per mancanza di parole o intelligenza per parlare di se stesso, quanto per una ripulsa di natura etica. "Alcuni poeti" ha detto Bandini "quando iniziano a parlare di se stessi dicono cose così sublimi che poi i loro testi, nel momento della lettura, risultano enormemente deludenti". Bandini ha invece preferred to dwell on what is for him the poem and how this "little obsession" has come into his life. Departing from the image of poetry still widely understood as knowledge, Bandini said that for him poetry is hope. "As you know," continued the poet Vicenza "hope is the most bizarre of the three theological virtues, the most difficult to define, the less mental. The hope is that as a child frustrated that when you go for a walk in a city much busy, sometimes gets out of hand and runs forward. The saying, "Go back, do not go into the street" and then this child back to where they started. You walk a little 'and run again. Poetry is come la speranza: qualcosa che scappa continuamente in avanti e che è difficile tenere ferma". Se la poesia è come la speranza, il "volo" del poeta, per Bandini, è molto simile a quello descritto dal grande scrittore ed aviatore Saint-Exupery in Volo di notte . Un volo che segue due spazi luminosi, le stelle in alto e le luci della grande città in basso. Un volo solitario, nel cuore della notte. Emblematico rappresentante del poeta, in tal senso, diviene Martin Muma, personaggio del Corriere dei piccoli, ispiratore di una poesia contenuta in Santi di Dicembre , che Bandini ha letto al numeroso pubblico accorso per sentirlo. "Martin Muma" ha ricordato il poeta "aveva sempre un peso in tasca. Quando gli amici rude or some accident deprived him of this burden became so light that the wind carries it away and the captain a lot of adventures. When I was a child, because I was thin and skinny, I was nicknamed Martin Muma.
In the words of Bandini feels like a love poem is intimately and inextricably linked to its existence. A love that makes the heart beat, entered his life boy ever since, although her reserve and modesty led him to publish his first book, In blatantly , released Pozza Blacks in 1962, only thirty years. "That my first book," confessed the poet "is largely the work of Blacks Pozza: I in fact I brought a quintal of poems I had written over a decade and he has made a choice and, in a sense, has built the image he had of me as a poet, ignoring some lines which then appeared in later poems. "A poem, that of Bandini, that arises, as pointed out in his introduction tip Alvaro Barbieri, ripe fruit of a long apprenticeship. "A striking debut" Barbieri said "for semantic density, thickness and accuracy of sign representation. Bandini show from the beginning as the writing remains a work on the language. Everything must go from there: the burning of the current ideological stakes, the incandescence of the instinct to be cooled inside the coils of the style. The ardor of the heart si struttura nella sapienza della forma ma nello stesso tempo le impuntature violente della storia dinamizzano e scheggiano la fluidità composta del dettato, con effetti di incrinatura e rilancio problematico". Prova della forte tensione della poesia di Bandini a confrontarsi con i dati infiammabili della storia sono due poesie lette dal poeta, Versi scritti durante le feste di Natale del 1989 e il poemetto Sirventese sugli angeli superstiti di Azneciv . Il Sirventese in particolare, è una lunga poesia dove il turbato riflettere sugli angeli diviene un modo per indagare il lato più sconosciuto, sfuggente e misterioso della storia. Introducendo la lettura della poesia Gatti di guerra, Bandini ha sottolineato come per scrivere una good poetry is vital to talk about real things. "Then when you write," he specified the poet "can also tell lies, but the fund must be something true, something that is known and who has lived. There is no escape. If one does not mediated through this contact with reality, can not even make the world of words that make up the poetic form. " The poet then read several poems in dialect to the public by clarifying the meaning it has for him to write in this language. "When you think that writing in dialect it means going against a larger audience, most popular," said Bandini "is mistaken. First, the poet who writes a dialect is never present è sempre una lingua arcaica, cioè una lingua non udita, una lingua che si ricorda, remota, una lingua morta. Da questo punto di vista la poesia in dialetto procede a ritroso rispetto ad alcuni processi della poesia contemporanea. Mentre in quest'ultima è andato sempre più cadendo il diaframma che separava la lingua poetica dalla lingua parlata, nella poesia in dialetto si va all'indietro e si propone una lingua che è memoriale e assoluta, cioè fatta per resistere agli intacchi del tempo". La fine della lettura di Sta lingua conferma queste parole: Sta lingua mi / la so ma no la parlo, / la xe lingua de morti . Strappa echeggianti risate al pubblico la spiegazione della poesia La ciupinara Dedicated to the mole. Bandini has been stated that the mole, however, is only a pretext. "In truth, the poem is dedicated to what in the language of our youth's name was going to camporela. At that time there were no cars where groped approaches love with girls, we had to go to fields and mind you, the art of seduction became much more difficult in the long journey from the place whence it started up the lawn that were thought to reach the girls change their minds, it was necessary to maintain for a very long time the right temperature of seduction. Li I would like to see the kids of today would know cope in a situation so difficult and that certainly had its difficulties. "
During the meeting, Bandini also read the unpublished poems, as written in Prague Poetry, Voices evening, 1939. Referring to the latter text, the poet said that when people get old, suddenly attack the memories that had completely disappeared, as the passion for a comic book or the stories of Gordon in the distant planets of the sky. "At that time there were a lot of money," recalled Bandini "then bought a comic book with contributions from everyone and then turned the wheel. But I continued to go back and reread the others tired. At that time I was a faithful, called alcohol ". This Vinicia Bandini tells a story of irresistible comedy: "My mom called me dicendomi, vai da Peruzzi, il droghiere, e compra uno scopeton, ma non dire ai ragazzi cosa vai a comprare. Infatti lo scopeton era il piatto tipico dei poveri, anche se oggi pare diventato un cibo prelibato. Io sono sceso e Vinicia mi ha chiesto, dove vai? Vinicia era il mio amore ed era capace di farmi dire anche quello che non volevo. Allora sottovoce le ho detto: vado a comprare lo scopeton. Vinicia, che abitava all'ultimo piano, ha cominciato a gridare: Mamma, vado con Fernando a comprare lo scopeton, ed è così che la cosa fu risaputa".
L'incontro si è chiuso con una vivace apologia della rima, vista da Bandini non come una gabbia, ma come suscitatrice di idee grazie alla sua capacità di provocare contatti analogici a livello unconscious and with a reflection on the concept of modernity in poetry. "The fundamental problem today is that of modernity," Bandini said, throwing a gentle jibe attack against a critical - a symbol of demeaning and damaging criticism resentful - of which the poet did not name, that the release of a His book, accused him of having a head full of cobwebs. "There are those for which modernity resides only in the formal structures and those for whom modernity also lies in? Inventio, in the things that are said, in the eyes with which you observe. Both things are important, but think that modernity resides only in the novelty of formal structures and their testing I think a very reductive view of poetry. "
In the words of Bandini feels like a love poem is intimately and inextricably linked to its existence. A love that makes the heart beat, entered his life boy ever since, although her reserve and modesty led him to publish his first book, In blatantly , released Pozza Blacks in 1962, only thirty years. "That my first book," confessed the poet "is largely the work of Blacks Pozza: I in fact I brought a quintal of poems I had written over a decade and he has made a choice and, in a sense, has built the image he had of me as a poet, ignoring some lines which then appeared in later poems. "A poem, that of Bandini, that arises, as pointed out in his introduction tip Alvaro Barbieri, ripe fruit of a long apprenticeship. "A striking debut" Barbieri said "for semantic density, thickness and accuracy of sign representation. Bandini show from the beginning as the writing remains a work on the language. Everything must go from there: the burning of the current ideological stakes, the incandescence of the instinct to be cooled inside the coils of the style. The ardor of the heart si struttura nella sapienza della forma ma nello stesso tempo le impuntature violente della storia dinamizzano e scheggiano la fluidità composta del dettato, con effetti di incrinatura e rilancio problematico". Prova della forte tensione della poesia di Bandini a confrontarsi con i dati infiammabili della storia sono due poesie lette dal poeta, Versi scritti durante le feste di Natale del 1989 e il poemetto Sirventese sugli angeli superstiti di Azneciv . Il Sirventese in particolare, è una lunga poesia dove il turbato riflettere sugli angeli diviene un modo per indagare il lato più sconosciuto, sfuggente e misterioso della storia. Introducendo la lettura della poesia Gatti di guerra, Bandini ha sottolineato come per scrivere una good poetry is vital to talk about real things. "Then when you write," he specified the poet "can also tell lies, but the fund must be something true, something that is known and who has lived. There is no escape. If one does not mediated through this contact with reality, can not even make the world of words that make up the poetic form. " The poet then read several poems in dialect to the public by clarifying the meaning it has for him to write in this language. "When you think that writing in dialect it means going against a larger audience, most popular," said Bandini "is mistaken. First, the poet who writes a dialect is never present è sempre una lingua arcaica, cioè una lingua non udita, una lingua che si ricorda, remota, una lingua morta. Da questo punto di vista la poesia in dialetto procede a ritroso rispetto ad alcuni processi della poesia contemporanea. Mentre in quest'ultima è andato sempre più cadendo il diaframma che separava la lingua poetica dalla lingua parlata, nella poesia in dialetto si va all'indietro e si propone una lingua che è memoriale e assoluta, cioè fatta per resistere agli intacchi del tempo". La fine della lettura di Sta lingua conferma queste parole: Sta lingua mi / la so ma no la parlo, / la xe lingua de morti . Strappa echeggianti risate al pubblico la spiegazione della poesia La ciupinara Dedicated to the mole. Bandini has been stated that the mole, however, is only a pretext. "In truth, the poem is dedicated to what in the language of our youth's name was going to camporela. At that time there were no cars where groped approaches love with girls, we had to go to fields and mind you, the art of seduction became much more difficult in the long journey from the place whence it started up the lawn that were thought to reach the girls change their minds, it was necessary to maintain for a very long time the right temperature of seduction. Li I would like to see the kids of today would know cope in a situation so difficult and that certainly had its difficulties. "
During the meeting, Bandini also read the unpublished poems, as written in Prague Poetry, Voices evening, 1939. Referring to the latter text, the poet said that when people get old, suddenly attack the memories that had completely disappeared, as the passion for a comic book or the stories of Gordon in the distant planets of the sky. "At that time there were a lot of money," recalled Bandini "then bought a comic book with contributions from everyone and then turned the wheel. But I continued to go back and reread the others tired. At that time I was a faithful, called alcohol ". This Vinicia Bandini tells a story of irresistible comedy: "My mom called me dicendomi, vai da Peruzzi, il droghiere, e compra uno scopeton, ma non dire ai ragazzi cosa vai a comprare. Infatti lo scopeton era il piatto tipico dei poveri, anche se oggi pare diventato un cibo prelibato. Io sono sceso e Vinicia mi ha chiesto, dove vai? Vinicia era il mio amore ed era capace di farmi dire anche quello che non volevo. Allora sottovoce le ho detto: vado a comprare lo scopeton. Vinicia, che abitava all'ultimo piano, ha cominciato a gridare: Mamma, vado con Fernando a comprare lo scopeton, ed è così che la cosa fu risaputa".
L'incontro si è chiuso con una vivace apologia della rima, vista da Bandini non come una gabbia, ma come suscitatrice di idee grazie alla sua capacità di provocare contatti analogici a livello unconscious and with a reflection on the concept of modernity in poetry. "The fundamental problem today is that of modernity," Bandini said, throwing a gentle jibe attack against a critical - a symbol of demeaning and damaging criticism resentful - of which the poet did not name, that the release of a His book, accused him of having a head full of cobwebs. "There are those for which modernity resides only in the formal structures and those for whom modernity also lies in? Inventio, in the things that are said, in the eyes with which you observe. Both things are important, but think that modernity resides only in the novelty of formal structures and their testing I think a very reductive view of poetry. "
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