Wednesday, June 20, 2007

Best Foundation For Rosacea

Interview Maurizio Cucchi on heading to school poetry


Why publish in my blog a second interview with Maurizio Cucchi? Not one enough? I think address the two issues are completely different interviews, also, in my view, this second interview, output in the form a little 'different in the Journal of Vicenza, offers several interesting insights on doing particularly poetic and address book that holds up for years Cucchi Mirror .

Fabio Giaretta

There is sudden poets. Do not just go head first over the line is to write a verse. Not enough to hurl their emotions on the paper to make a poem. Writing poetry requires technical knowledge and expression. It is a very traditional practice that must be cultivated with patience, dedication and humility. Just to encourage this awareness, for years, Maurizio Cucchi, one of the most important contemporary poets, takes up Mirror, a weekly supplement of La Stampa, a book entitled seguitissima School of poetry. Cucchi public in this space every week a selection of poems taken from the many poems that were sent from all over Italy, offering advice and guidance on making poetry. We have turned a Maurizio Cucchi some questions about this column during his participation at the second meeting of Poetry / poems, encounters with contemporary poetry in Schio.
- How and when did the school book of poetry that takes up a weekly mirror?
In the fall, if I'm not mistaken, the book will turn ten years, a sign that the poem much more interesting than generally believed. She was born initially in connection with a television program where Alessandro Gennari, unfortunately already passed away, she read poems. It had been thought, then, to respond to the many who wrote offering their texts. Then the relationship with the TV broke down, and I thought, mistakenly, that the influx of texts would have decreased. Instead, this did not happen at all. Not only that, but the average quality of requests for opinions or publication began to rise.
- Why do you think so many people write to ask your advice?
Because many feel the need of a partner, someone to give them play. Simply and generally unpretentious. I unfortunately can not answer at all. On the contrary, in fact, say only a small part of those who send me their lyrics. In any case, my answers are not only the person directly addressed some, but a little 'to all those looking for poetry.
- His column is titled School of poetry: think you can teach how to write poetry?
I do not have such clear demands. I think it is appropriate to re-establish a healthy atmosphere of the shop, where you understand that writing, even poetry, is first of all acquisition of knowledge, humble artisan who exercise may lead to results not important to a civilized literary practice, and maybe to the habitual poetry in general, that of others, I mean. So, can lead to become regular readers.
- In your opinion, what elements must be really good poem for this?
had a secret like that and I was able to formulate it would also solve many problems ... The poetry of criticism must always be set in motion form that thought and emotion in the body of language. It must be a synthesis of personal truth in the energy of the word. Must subtract the floor to the stereotypes of everyday language and literature, must present itself as a word that really speaks against a backdrop of dead words, clichés and substantial liabilities.
- The many people who scrivono sembrerebbero smentire il luogo comune che vuole la poesia lontana dalla gente e arroccata in una torre d’avorio…
La storia della torre d’avorio è, appunto, uno dei tanti luoghi comuni da abbattere. Come quello che dipinge il poeta come tipo bizzarro, pittoresco, vagamente anarcoide e galleggiante sulle nubi. Chi scrive vuole esprimersi e comunicare nell’arte della parola. C’è chi lo sa e riesce a farlo, c’è chi arranca e forse ce la farà, c’è chi è negato ecc. ecc. Come in tutte le arti.
- Lei consiglia spesso di leggere molto per poter educare il proprio gusto. In effetti in Italia si è creata una situazione paradossale: tantissimi scrivono poesie ma pochissimi le leggono. Non crede che ci sia, in generale, una certa superficialità e approssimazione abbastanza naïf nell’approccio al fare poetico?
Io consiglio di leggere molto non tanto per diventare buoni poeti quanto per fornirsi di una minima consapevolezza e arrivare almeno a esiti di letterario decoro. Essere poeta, o addirittura buon poeta è qualcosa che può realizzarsi solo in seguito, eventualmente. È vero, moltissimi scrivono e pochissimi leggono. I migliori leggono, non c’è dubbio. Chi non ama la poesia (dunque quella degli altri) non si capisce perché si ostini a tentare di scriverla. Non si impara una lingua senza averla mai ascoltata. La poesia è una lingua particolare, una lingua strange and foreign, as incisively pointed out, John Smith. It is an art. The misunderstanding arises because many people confuse the language of ordinary communication with that of poetry, which uses the same materials but at a level of elaboration, complexity and depth of a very different order.
- In her book she tries to educate a taste that shrinks from every intellectual and artificial manner and that can be sober and balanced. Not at all recently wrote, citing Giampiero Blacks, the highest goal is simplicity and hard
... I believe that poetry should seek the highest level of truth with the minimum of visible artifice. Who supports mainly on literature data already acquired is only of "literature", just in quotation marks. But the real literature, without quotes, lies in the capacity of non-parasitic continuously renew the tradition. Otherwise remain inert and museum. The tone set, a high rate of literariness recognizable, the search for valuable solutions are often unintentionally autodifensive solutions.
- Some say that his book is likely to bring the taste of those who wrote to his idea of \u200b\u200bpoetry. This risk do you really exist?
Who said or did not understand or is in bad faith. The taste is not an immediate and primary, the taste is something which can be reached con l’esperienza, la pratica costante, la conoscenza delle alternative autentiche. Io do indicazioni che precedono la formazione del gusto. Do indicazioni di bottega, tentativi di avviare a una consapevolezza, come dicevo, maggiore. Tanto è vero che nella stessa pagina di Specchio consiglio ogni settimana libri diversissimi, di letterature e tendenze del tutto estranee alle mie preferenze personali. Ma libri, però, di qualità.
- Lei è uno dei pochi poeti di fama nazionale a battersi per dare visibilità alla poesia delle nuove generazioni. Come le sembra, da un punto di vista poetico, questa nuova generazione?
E’ una generazione straordinariamente numerosa e impegnata. Più numerosa della precedente, and very much alive. I just hope it does not become too self and soon realize that every true poet is also the creator of language and new forms. In any case, for passion, dedication and confidence seems to guarantee the future of poetry, and therefore is a generation that I like and I try, as far as I can to promote. I do also, Antonio Riccardi, reborn in the Almanac of the Mirror, which have already come out in only two numbers, poets such as Andrew Ponsonby, Silvia Caratti, Fabrizio Bernini, Lucrezia Lerro, Maria Grazia Calandrone.