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A meeting with Fernando Bandini (2005)

(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. "

Fakku Is Down January 14

Interview with Maurizio Cucchi (2005)

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?

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.

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Interview with Cesare Viviani (2005) Interview with

"We must break this kind of passivity and entertainment show that has been established in every field of experience." With these words, Cesare Viviani, a poet of undoubted importance in the panorama of contemporary Italian poetry, has been warned of the many people who came to the Palazzo Capra Toaldo a slave for the fifth meeting of the fourth round of Poetry / Poetry, Encounters with the contemporary poetry . Viviani began with the observation that a meeting with the author has sense only if it can not be reduced to a pleasant entertainment, but also stimulates the desire to move to the written page. "At one time," said the poet himself as a happy experience that we find a book filled with joy. An important book of our life became an encounter of love. I do remember that the phrase was repeated several times: I prefer not to know because the writer will inevitably deluderebbe, sarebbe inferiore rispetto al libro. Oggi invece la situazione mi sembra si sia capovolta: c'è molta curiosità di conoscere l'autore, poca di leggere il libro. Il contatto con la poesia non può limitarsi a quello con il poeta, ma deve avvenire soprattutto sulla pagina scritta. Incontri come questo hanno senso se riescono a stimolare il desiderio di leggere i libri. Si è diffuso un modo troppo disinvolto di vivere, ogni cosa appare unificata in una mistura un po' nauseante dove tutto è comunicabile, tutto è facile. La poesia fa parte di quelle esperienze con le quali non si può essere disinvolti e facili". In perfetta coerenza con queste parole, tutta l'opera poetica di Viviani, compreso il suo ultimo inafferrabile libro The form of life that the poet presented in Schio, can be seen as a strong opposition against the perceived slight, superficial and casual existence dominant today. An opposition is not protected by the privileges of a superior knowledge that, following the nakedness of the word, stripped of its potential to capture and power, aims to revive the nakedness of being human. After the intense and exciting encounter with the public, we asked a few questions Cesare Viviani. Referring to the genesis of
The shape of her life wrote that he wanted to trace the experience of those painters who have been lucky enough to get into a chapel or a room of palaces and to work for years to fresco?
Visiting the fresco cycles of these artists, I found myself admiring their type of experience: these people walked four, five years of their lives working in these places every day, patiently and humbly, to advance their great work representation. And although their work was born from this daily activity, trying to give their work an opening to a dimension that went beyond the newspaper itself. So I said, at least once in your life I want to try this experience. I say put in a room for four, five, and do a job patient, humble, for "fresco" and represent my time.
In his "cycle of frescoes, which took five years of work, there is an absolute centrality of everyday life?
The shape of life is born from the need to appear on the scene everyday people, all those lives that we encounter every day on the road. The various characters take a piece of their lives, appear once and then disappear forever. They show themselves through the usual gestures and speeches easier.
The many figures that appear in the book are often busy doing something. There is a reason behind this rule of "do"?
Before our eyes, every day, we see that each of us does something. In the morning you get up and say, 'What do I do now? ". And then we relocated in the chain of activities. Our every gesture, if you look, it's a way to give ourselves the safety of our being. But is this assurance given by the simplest actions, if not a way to stave off a deep sense of uncertainty that surrounds our lives? The daily act has a great significance, he speaks of what is being done, but also the meaning of salvation that we ascribe to him. The continuing confrontation with the uncertain, with the infinite and nothing should lead to sharing the fate of insecurity and fragility that unites all life. Life non va vista come una forma risolta ma irrisolta e l'uomo deve imparare a portarla dentro di sé senza negarla. Bisogna abbandonare la disinvoltura brillante, superba, orgogliosa con cui si tratta oggi l'esistenza. Non siamo padroni della nostra vita, essa ci domina in ogni momento, siamo presenze assolutamente fragili ed effimere.
L'accettazione della forma irrisolta della vita e della sua dimensione di profonda incertezza può quindi assumere un valore in un certo senso salvifico per l'essere umano?
Nel rapporto con l'infinito, con il nulla, con la dimensione di assoluta incertezza della vita umana, l'uomo dovrebbe trovare una via per umanizzarsi e per mettere da parte l'orgoglio, l'arroganza, la prepotenza. Nella sharing with others of the precariousness of their own destiny you can find the deeper meaning of our existence. It is often said that during the war there was a climate of greater solidarity and more human. This is because they were all poor, all under the constant threat of bombings. We lived in a precarious situation continues. Then with the well-being human beings become more selfish, arrogant, sure. To increase solidarity and brotherhood, we must consider that we are always at war, even if you do not bombard us. The conditions of human life are always the same, still very uncertain and precarious. The great Christian spirituality and not, tends to a continuous dialogue with death because non venga mai dimenticata la condizione di precarietà e fragilità della vita umana. Se noi continuiamo a cercare di vincere l'incertezza, l'insicurezza, la paura accumulando beni e potere siamo sulla strada sbagliata, in una via di fallimento. Dobbiamo tornare indietro da questa strada e vivere come fossimo sempre sotto la minaccia dei bombardamenti, perché non è la sicurezza la vera dimensione della vita, ma l'estrema insicurezza.
Il suo itinerario poetico, pur mostrando una continuità di fondo, presenta evidenti mutamenti. Da dove nasce questa continua ricerca di nuovi percorsi da seguire?
Sono sempre stato attratto dalle opposizioni e in questo amore per gli estremi ho trovato molta sofferenza ma anche il desiderio to explore the whole range of possible combinations of experience. The changes have been very strong but also very natural. The first was with Love of the parties and Merisi, books by which I reached after a gradual normalization linguistic experiments of the '70s. Then, starting in the '90s, with Prayer name, there was a complete normalization of language and un'estremizzazione content and themes. Like the human body changes with age, so the expression of my poetic language has had some obvious changes. However, the changes were always surprising to me, I've never driven nor organized. As I was surprised at the bottom of the magma language, neologistico and deformed the first two books, in particular the de ostrabismo dear since my earlier books, then left in Summulae were very traditional. And 'as if a volcano had then begun to flow magma. I have always given huge priority on controlling the experience and intellectual calculation, even in the trial. My reference was always more welcome Amelia Rosselli who embodies a kind of visionary who deviates from the experimental understood as a language laboratory and binds to a verbal Magmatic body that breaks from its traditional forms.
How did his profession as a psychoanalyst sulla sua poesia?
L'influenza non è mai stata della pratica psicanalitica sulla poesia, ma semmai il contrario. Non ci sono mai stati dei travasi, a parte un caso isolato, dal mio lavoro di psicanalista alla poesia. Posso dire che mi sembrano però due pratiche affini in quanto io vedo la psicanalisi come un'arte, dove la dimensione creativa legata all'esperienza è fortissima. Credo che le due esperienze siano analoghe, in quanto entrambe si lasciano alle spalle il sapere e le conoscenze acquisite, per imboccare una via che va al di là di ciò che sappiamo, e in questo spazio ulteriore permettono di arrivare al limite del conoscibile affacciandosi su una voragine, su un abisso.

How Long Flagyl In System

Monica Pavani, poet and translator (2005)

What immediately strikes the poet and translator Ferrara Monica Pavani is the fresh life force that animates his every gesture, every word. An overflowing enthusiasm that has its origin in a real surprise against changing manifestations of reality and its irreducible mystery. A provision is essential in every true poet, which is clearly evident in its clear verses and thirsty. Surprises of this young poet's will to purify his poetry from any narcissistic exhibitionism and generous dedication to the sanctity of the poetic word, sought with tenacity, but without haste, in a continuous and fruitful dialogue with the emptiness and silence, the only way to reach the fullness of the verse.

Le tue due raccolte poetiche, Fugatincanti e Con la pelle accanto , contengono sia testi tuoi, sia traduzioni. In che cosa si differenzia per te la traduzione di testi altrui dallo scrivere poesie in prima persona?
È difficile scrivere qualcosa di proprio avendo una visione lucida di quello che si va facendo. Spesso non è facile nemmeno sentire se i testi appena scritti "parlino" o meno. Tradurre invece ti dà la sensazione di riuscire ad entrare in una stanza che si può percorrere in lungo e in largo, vedendo in dettaglio tutto quello che contiene. In realtà si tratta di un'illusione, perché più si traduce e più ci si accorge che il linguaggio cela infiniti antri hidden, often resist any attempt to unveiling. Another difference is that in my case, the poem is a call intermittently, at some point that is compelling and completely silent in others. On the contrary, can be translated with a certain continuity. In any case, especially when it comes to poetry, a profound empathy with the text to be translated, and I do not think that it eventually becomes too much to say really. This is why I like to mix my poems and translations. Even writing for me is not so much listen to my voice, but the items, which are items of things, air, objects, who is gone? The translation is for me a way to implement this play.
Scrolling Your production can be seen carrying out an intense activity as a translator, and poet as you have published only two collections of verse. Is there any reason?
poetry requires concentration which rarely fails to carve out a space in the newspaper. It is also true that I often have to translate with an urgency imposed from outside, easier to satisfy than the thirst to express my expressive content, which often makes me doubt the start. Beyond this, I feel like everyone I suppose, to have a limited number of themes around which tends to rotate my curiosity, so sometimes I need a long period of silence to avoid falling into the trap of repetition. Traduco molto e scrivo poco un po' perché è diventato il mio ritmo di lavoro, ma anche perché spero che quando rimetterò mano alla penna, se capiterà, avrò qualcosa da dire che ancora non so.
In molti parlano di intraducibilità della poesia. Qual è la tua posizione rispetto a questo argomento?
Io credo che ogni poesia celi sempre uno strato inespresso, un nucleo misterioso, un cassetto che è rimasto chiuso. Forse è inevitabile tradurre con la tacita speranza che il proprio lavoro linguistico, emotivo, possa aprire uno dei tanti "cassetti" di inespresso. Per questo ritengo la traduzione necessaria, anche se è chiaro che non sarà mai l'originale. Il problema, per quanto mi concerns, not the untranslatability of poetry, but the opposite, namely that it is translated too, which is always translated: the meanings, to discover, are never finished. Even change with time, with the changing of the language. Of course, translators involved in a paradoxical way, to work over already, and seem to already know word for word as a mystery.
in your ways it feels a very strong tendency towards the infinite, a veritable frenzy of the universe "?
Poetry can be a way to reactivate groped under primordial seemingly lost forever. Poets who are indispensable to me, are those who manage to get in touch the dimension of existence with the most terrestrial air, heavy and sometimes hopeless. I think that writing poetry is immersed in the dark part of us that language does not have to bring to light the flashes of light that are yielding glimpses of this collapse. In the middle needs to happen a sort of metamorphosis, whereby the magma becomes formless light, turning into poetry or words transparent, with glimpses into the abyss, the infinite love, behind the reality of their signs.