Sunday, August 19, 2007

Power Boat Labeled Diagram

Interview with Fabio Franzin

(public here the entire interview to the poet Fabio Franzini, output in a slightly different and greatly reduced in the newspaper in Vicenza)

Fabio Giaretta

"For the poets," wrote Umberto Saba in his famous 1911 paper "honest poetry remains to be done." That is a poem reflects the sincere motives, not with false appearances deceive the reader, who can fathom the depths of the soul and reality without unnecessary trappings, but without forcing ideological.
reading the poems of Fabio Franzini, one of the most interesting voices of contemporary poetry neodialettale, you have the clear sense that his poetry is a deeply honest. His poems, written mostly in the dialect spoken nell'Opitergino-Mottense, very mellow version of the dialect of Veneto-Treviso, hit it for their authenticity. Franzin never force the inspiration and she never allowed herself to be groped easy virtuosity. All this allows him to gain a simple and concrete language, language that inspires all who can penetrate, so far from simplistic, the complexity of the real worries. Fabio Franzin We met at the launch of his latest book Mus.cio and roe (Moss and thorns, and the voices of the Moon, pp. 151, € 12), which recently won the prestigious City of San Pellegrino Terme , ex aequo with the balcony of the body of Antonio Anedda and flight attitude of Pierluigi Cappello.

- She was trained as a poet in the school of life and that gave authenticity, immediacy and concreteness to his verses. Unlike so-called "poet laureate" because she began to make the worker to 16 years and since then has never stopped. How was introduced to poetry?
me there approached, at first, by listening to singer-songwriters: De Andrè, Guccini, De Gregori, who are still considered among the greatest Italian poets, in the sense of the contents, then went on to natural, for "need" mates, I approached the poets without a guitar, not without music, so that if I were to say what is, in my opinion, poetry, I would say that is a declaration of love that words are the music.

- She wrote poems and speaking in dialect. But now the dialect has become the preferred language of the verses. Why?
First it should be noted that the dialect for me is not the native language, my parents pur essendo veneti sono andati a lavorare a Milano e tra loro, non so come mai, si parlavano in italiano. A sette anni sono ritornato con loro in Veneto e ho dovuto imparare il dialetto: per me è stato come imparare una lingua straniera. Devo dire grazie alla zona in cui vivo perché il dialetto è parlatissimo, anche dai giovani. Un mio carissimo amico, Achille Serrao, poeta e critico dialettale fra i maggiori, e prefatore del mio primo libro in dialetto, dice, spesso, che non è il poeta a scegliere la lingua in cui esprimersi, ma è lei, la lingua che sceglie il poeta. Così è stato anche nel mio caso; e una trasposizione teatrale del “Filò” di Zanzotto, più di un decennio or sono, mi fece intuire quale force was inherent in the dialect.

- Why do you think the dialect is closer to things than to the Italian language?
Why is the language that names things, in the place, almost, or often, of course, in the sense that the appointment, onomatopoeic, as well as they appear, for the use which man makes, or what things imposing man. Think about the word fuisse, which in my dialect appointment weasels: there is, in Italian, the most beautiful and accurate payment to indicate a bird of prey, slender, crooked and, by necessity, always ready to escape? I find then, in dialect, that modesty is necessary for me to voice my feelings: For example, in dialect, at least in mine, there is the word love. They say you vui well to a "girlfriend", if the feeling becomes strong, vui you so well, almost afraid to admit that the feeling or the fear of too unbalanced.

- What were the poets who have influenced you the most?
Zanzotto and Saba, which I consider a bit 'of the "godfathers" in announcing that, inside me, the two fundamental aspects of my poetic love of landscape, nature, and that minimalism of "things close under his breath. " But of course I also have a lot in Marin, Giotto, Caproni, Loi, Pascutto and, to mention only three names of poets foreigners: Seamus Heaney, Robert Frost and Pablo Neruda. Much to my training, I also have those "poets" that they sent me different emotions in art: Antonioni's filmography, for example, or the great Venetian art of the '500 (by Jacopo Bassano at all). Deserves a separate chapter, now with sorrow at his recent death, the narrative of Meneghello: a great teacher, a great poet who has chosen the dialect in the language of soul, of a people.

- Her previous collection was called, and was apparently dedicated to the figure of his father. Although the latter book is dedicated to the memory of his father and ends with a poem that Destin ambuente starring ... How come your father has a central position in his poems?
My father was, for me, an exemplary figure, because the education you gave me went through the gestures, the example and the values \u200b\u200bthat brought him and, very miserably (I have his stuff unfortunately), I try to perpetuate, they seem a bit 'out of fashion: the moral honesty and humility. I still believe, and I do my best because I believe my children.

-Her latest poetry collection is titled Mus.cio and roe (Moss and sockets) and includes several unpublished texts plus a selection of poems from her two previous collections. Why did you choose this title? What are you to these two natural elements that are often returned in his poems?
Moss, as well understood by the young critic Albert Cellotto, in his review of my two works, including the latest collection, is one of the topos of my poetry. This vegetable that comes in the shade, in the north side of the cortex, distant, soft, on the cribs irreplaceable, and representation of a sacred community, is, for me, the very idea of \u200b\u200bpoetry and love. The bones (of the bramble hedge, roses), are the necessary counterpoint to the moss, the part of that sharp pain (from Christ, the crown for contempt) necessario per capire la carne: pungersi per farsi quindi re della propria anima. Entrambi, poi, elementi fondanti del paesaggio veneto; entrambi elementi simbolo della nostra esistenza.

- La sua scrittura si caratterizza per una grande ampiezza di spettro. All’interno del libro si nota infatti un allargamento progressivo di prospettiva, dai fatti personali ad eventi collettivi, dalla poesia amorosa e quella narrativa, dall’autoanalisi alle storie familiari e ai ritratti di personaggi. Da dove nasce questa grande varietà?
“Mus.cio e roe” prende l’avvio come il canto straziato ad un amore perduto; poi, via via, la scena si popola, proprio come in un presepe, di una comunità, ogni personaggio entra con la sua storia, spesso, apparentemente, priva di colore; come se chi prima gridava sommessamente la sua perdita avesse ora trovato una compagnia. Una sorta di Spoon River della memoria, delle nostre pianure. Attraverso questi personaggi ho cercato di far uscire, ora l’aspetto più di pietas, o più intimistico, ora quello più civile della mia poetica, della mia coscienza.

- Il dialetto, spesso a torto considerato una lingua rozza e grossolana, dà alle poesie d’amore che aprono il suo libro un pudore e una delicatezza rari da trovare nella poesia in lingua…
La ringrazio. I giovani, che qui in Veneto continuano, per fortuna, a parlare, parlarsi in dialect, they do, however, just as I did then, with a sort of "shame", as they felt the custodians of a heritage of animals and barns. I have found in my dialect, the harsh and hoarse voice to say love beyond the dull, as I feel, and certainly, this language with its sounds, its ruptures, even in this context, I came meeting.

- His verses are characterized by a strong popular dimension. This emerges in his latest book where macroscopic appear many stories and portraits of men and women of the people, who are usually excluded from history or that suffer it. The poem, in this case can be understood as a kind of compensation?
Look, I've started writing relatively late, around 25 years, after having read a lot, because, not having been able to continue education after high school, I thought, missing some basics, that somehow, it does not I was worthy. Then, about twenty years ago, I went into a bar right in the moment, the proprietor was berating in the wrong way, the waitress who had on the payroll. There were other customers, and in the face of that girl, in her eyes, you past the humiliation, the humiliation penetrated me, and, at that very moment, I decided that I would write, described the pain. Since then non ho più smesso.

- Oltre alle persone del popolo, nei suoi versi grande importanza assume anche il paesaggio, che non ha mai la funzione di puro sfondo…
Il paesaggio non può, non deve essere considerato solo un bel fondale per la recita della nostra esistenza. Credere ciò, lo abbiamo, purtroppo constatato, ci porta all’idiota convinzione di poterlo tranquillamente cambiare, quel fondale, di sentirci in diritto anche di violarlo, con gli esiti disastrosi sull’ecosistema che sappiamo. Per me il paesaggio, grande la scuola di Zanzotto, è un compendium del sentimento umano, è una forma d’amore che, attraverso lo sguardo, porta polline all’anima, fiorisce in words, producing fruits of sense.

- In the poem "Cossa gh'in ciaparèto bit 'to make puis?" (What do we gain, then, to write poems), she plays with the phonetic proximity of two words: Puis (poems) and puissìe (cleaning ). Beyond the phonetic similarity does not believe that this approach also say much of his understanding of poetry?
The poem, in my case, has made cleaning my many stubborn sadness, in the first place. Then, continuing in the ridge of this metaphor, of course intentional, in that text, I think cleaner in the value of the word, let me explain: I believe that the poetic word to the world from the nectar prefix im-, che, nella realtà, nei suoi più nefasti eventi, ci tocca a volte accostare al termine mondo, e quindi, di nuovo, alla realtà. Ancora è Zanzotto a dirlo in maniera perfetta, con le sue linde parole: “Mondo sii, e buono…”

Breve nota biografica su Fabio Franzin:
Fabio Franzin è nato nel 1963 a Milano ma vive da anni a Motta di Livenza, in provincia di Treviso. Ha pubblicato le seguenti raccolte poetiche: In canti d’aria (e rapide dimenticanze), Kellermann, 1995; El coeor dee paroe con prefazione di Achille Serrao (Zone, 2000); nel 2003, presso ECIG, Il centro della clessidra (Premio “Ugo Foscolo 2002”); in 2005 the Song daa Provence and other trazhe Love (current Foundation, Milan), winner of the 2004 and Edda Squassabia Tangle of commas (Printer dell'Arancio) with an introduction by Elio Pecora, in 2006, editions Helvetia was released Pare (Father), with a preface by Bepi De Marzi. His latest collection, output for the publishing house of the moon items, and roe is called Mus.cio (Moss and plugs) and contains a selection of texts from coeor El Paro dee daa Provence from songs, plus several new songs.