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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.

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The quake Giuliano Scabia

Giuliano Scabia books have the power to break up the spirit and body. You hoe inside spread generously fruitful seeds, making fertile ground and sprouting. His latest is no exception to the short but illuminating book, The quake, subtitle What is poetry? (Casagrande, pp. 93, € 11.50). In this work, Scabia, born in Padua in 1935, tireless man of the theater, writer and poet away from fashion and etiquette, says in fifteen writings, always ruffled by a joyous thrill of poetry, his travels in search of physical and mental a voice that knows how to continually renew and regenerate the infinite potential of language. As written by Joseph Brodsky in fact, he explicitly mentioned The quake, a sort of manifesto of poetic verse that gives the title to the book, "the birthplace of the poet is his language." For this poet, and it is certainly Scabia, venturing with her, fought with her, so unceasingly cultivates revives his deep tremor that breaks out when "the dry reinforcement of behavior / mind and complied, forced / falls apart. " Only if you grind the desert and barren language that more and more frighteningly us divestment of our innermost being, only if we open a crack in the rocks of the mind, through which flows with the force of an earthquake, "the highest survival rates of the tongue ' You can send forth a poetry capable of shooting "arrows pregnant buds" that awaken "The thirst for life in those affected."
Scabia The language is something magical, a kind of Holy Grail; prose What would the world be without children animals and plants it is even given the power to create things. Through the act of naming occurs because a constant, jubilant genesis.

In his quest for the Grail of the tongue, Scabia pursuing different tracks and sometimes it happens that those who have left suddenly appear, and started to walk with him. Traveling through the paths of poetry Scabia meets several companions, including St. Francis, Collodi, Ippolito Nievo, Borges, in the middle of a delicious literary fantasy, Tarkovsky Rigoni Stern, who directs the words of deep human relations and art: "I am humbly join in what he describes, I feel familiar. Walking in what he does. I respect him too because it's true - and not the misery and cynicism of many writers. " In written Meneghello and water Malo, Scabia instead tells of an encounter with Meneghello, in January of 1987 the museum Casabianca. No wonder the deep admiration for Scabia Meneghello, if you think that this in all his work, has made an uninterrupted "descent linguistic, imaginal and metaphysics, beyond the physical surface of the words in their back in above and below. " No wonder that even among the fellow travelers of Scabia there is also Zanzotto - star of the written For a portrait of Andrea Zanzotto - one of the greatest poets of the twentieth century, who devoted his life to exploration and reclamation of an inexhaustible language.
Inspired by all these traveling companions, Scabia chasing for years, courageous and tenacious dedication, the trembling of the budding poetry, keeping away from a culture that is increasingly encrusted, standardized and rigid, and by all those clichés, sadly rooted , who want the art only daughter of anxiety, melancholy, anxiety. For Scabia art is instead a joyous, uncontrollable dancing and game-like to that of a dog that runs and jumps here and there with a piece of branch in the mouth. As he writes in prose dedicated to Ippolito Nievo, art is "a return on themselves dancing and gain momentum for short flights having anything in your mouth which is a branch but it means something else in the company of someone who takes part in the game ' .

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Interview with Umberto Fiori (2006)

Not long ago, in an article devoted to the presentation of World Poetry Day, I wrote: "Poetry must be removed from the ivory tower in which it was confined and down among the people ". I am firmly convinced that it loses some of its very essence, if you reduce it to a first fruits intended for an audience of a few initiates. This is not to say that this absolutely has to be compliant at all costs with their recipients. Indeed. If poetry has come down from the ivory tower, he must do so no easy compromises and concessions surface, and the public must still meet her in an open and available. But I am convinced that one reason she moved away a large number of readers from the poetic word should be sought in the self-complacent in free and darkness that has too often polluted the roots of contemporary poetry. Of course I'm not supporting the party of a clear and limpid poetry at all costs. Similar schematics are far from the complexity of doing poetico. La poesia ha il pieno diritto di essere oscura e sfuggente, purchè questo sia intimamente legato alla pregnanza del suo messaggio. Se manca questo accordo profondo si cade, a mio avviso, in un pirotecnico gioco illusionistico che ha poco a che fare con l'autentica poesia. Questa riflessione, che meriterebbe un maggiore approfondimento, è ritornata prepotentemente nella mia mente dopo l'incontro con il poeta Umberto Fiori. Innanzitutto qualche riferimento biografico. Umberto Fiori è nato a Sarzana nel 1949 e vive a Milano. Ha fatto parte, come cantante e autore di canzoni, degli Stormy six, gruppo storico del rock italiano. Ha pubblicato le seguenti raccolte poetiche: Case, (S. Marco dei Giustiniani, 1986), confluito poi nel suo secondo Sample book (Marcos y Marcos, 1992), Clarification (Marcos y Marcos, 1995), the plaquette talking to the wall, all (Marcos y Marcos, 1998), La Bella Vista (Marcos y Marcos, 2002). What strikes you immediately is poetic in its search for the will to achieve full transparency and to communicate a direct, almost physical, with the player. His verses - and this is in my opinion one of the strengths of the poetry of flowers - are able to maintain an always said very softly, conversational, almost at ground level and take the same time, without leveling simplifications, all lumps left over from the real. I asked a few questions that Umberto Fiori was the protagonist of the penultimate round of review Poetry / Poetry, Meetings with contemporary poetry. The meeting was divided into two phases: the first flowers have spoken to the public Fogazzaro Palace in Schio, and then held together with Thomas Leddi who accompanied him on guitar, a concert based on poems by the Centre Franco Loi Stable Culture, proving to be not only a poet worthy of particular attention: a singer with a deep voice and pentrante and a stylish and charismatic stage presence.

- She was a member in the seventies as a singer and songwriter, Stormy Six, a group of Italian rock history. Then he changed course and is dedicated to poetry. What breaks and which sees the continuity between these two moments of its activities Art?

In fact, I started to write poems well before you make the musician. Entering in Stormy Six began to write songs and sing them. This has changed a lot my way of thinking about writing: I had to do with the page, I did not produce a text "dumb" a verbal object disembodied, the words were designed from the outset to be brought before a public by the voice of someone (me). The difference is not purely formal, aesthetic when you get on stage and singing, there is the mediation of the book, your words and your physical presence are all one, "you put your face, you expose yourself, you put in the game, you take public responsibility di quello che hai scritto. E' un "martirio" nel senso tecnico, etimologico del termine: la parola è "convalidata" da un testimone in carne e ossa. Io questo lo sentivo molto; sentivo il rischio che il senso delle parole correva offrendosi alla gente che ascoltava. Tra l'altro, il nostro pubblico era molto eterogeneo, con aspettative, competenze e livelli di attenzione molto diversi: un giorno suonavamo in un'università tedesca, il giorno dopo sulla piazza di un paesino della Calabria, e così via. E' un'esperienza che mi ha segnato: quando - negli anni '80- ho chiuso con il mestiere di musicista e mi sono dedicato completamente alla poesia, la mia idea di parola era ancora legata a quel rapporto immediato, quasi fisico, con il destinatario. In addition, all the ideological certainties had collapsed in the past could still support my writing: my poems, now, were completely unarmed. This, of course, gave me anxiety, but also a new sense of freedom, truth and seriousness.

- His poetry refuses almost programmatic darkness and seeks to create transparency of communication, a dryness almost prose and a direct meeting with the player. Why did you choose a wording so bare and faithful to reality? Where does this intermediacy of tone and intention of this report and clarity?

at about thirty years, when I had already written a lot (without deciding to publish) a certain way of making poetry - one that points sull'allusione, sull'obliquità, ellipsis, on the primacy of the signifier - began to feel sick a bit '. We felt in a too much of literature, aesthetics, and also - how to say - a trick. I was tired of the poem written for the initiated, for the critics, if not for the poets themselves. If poetry is this exercise in style of literary subtlety, I thought, then I do not care, or there are some things to say, a way to put into play, or might as well give up. So I put on the trail of what I called my "normal speech". I thought of a poem as much as possible clear that coffin, which strives to be faithful to the world of things. My lettore ideale non era (non è) uno che di poesia se ne intende: era (è) una persona capace di ascoltare quello che un altro ha da dirle, di confrontare con la sua la propria esperienza, senza troppi filtri estetico-letterari.

- Nella sua poesia è quasi assente una figura retorica come la metafora del tutto centrale nella poesia del Novecento mentre trova larghissimo spazio una figura un po' in disuso come la similitudine. Come mai questa scelta?

La metafora intreccia e complica i rapporti tra le parole e le cose; nella similitudine, due immagini vengono accostate, una "spiega" l'altra, la illustra, ma ciascuna conserva la propria integrità, è interamente riconoscibile. Anche qui, My appetite is driven by its quest for greater legibility, clarity and fidelity to the world, its most common sense, no longer shared.

- So far, she has written four books of poetry: Examples (1992), Clarification (1995), All (1998) and the beautiful view (2002). How do you see the stylistic and thematic evolution through these four collections?

In Examples I had almost completely eliminated by a kind of inhibition, the first, the lyrical subject. I could not say "we", nor "I". The subject was mostly "a" or "yes" impersonal. From one book to another I gradually recovered the first single, to return Centrally located in Bella Vista. In terms of language, it seems to me that there were carried out after major examples. In Beautiful view is the novelty of a "natural" landscape and well identified, compared to an unspecified urban settings of earlier books. But in the end, that is closely related to marine landscape walls, excavations and the homes of earlier books. Beyond the differences, I have the impression that she wrote four chapters of a book.

- Milan, Milan, as in many other contemporary poets, has an absolute centrality in his poetry. What attracts her to this city?

to Milan (in the verses that never names, not even indirectly), I had a first repulsion (on my arrival, when I was five years) then - more than an attraction - an acceptance. Let's say I had to deal with this city, a bit 'as we all must come to terms with where we live, or if you want to live with the fact that a place and there are data.

- Voltess the concert led by Thomas Leddi Stabile Center for Culture is based on poems by Franco Loi. How did this project through which he returned to play with Thomas Leddi member of Stormy Six? What role did Loi poetic in its formation? What other poets have been important to his artistic maturity? Vòltess was born without a specific project, nel 1998: Tommaso Leddi aveva musicato un testo di Franco Loi, e mi aveva chiesto di cantarlo giusto per sentire come funzionava. Da lì è partito tutto: io ho scelto altri testi dai libri di Loi e Tommaso ha scritto le canzoni in pochi mesi, una dopo l'altra. Non sempre le cose vengono fuori così, quasi senza sforzo: spesso i progetti più belli sulla carta si insabbiano in mille discussioni, dubbi, ripensamenti. In questo caso, penso che abbia giocato molto, oltre al nostro lungo affiatamento musicale e alla nostra amicizia, l'amore di tutti e due per il poeta in questione. Tommaso conosce Loi fin da quando era bambino (è un caro amico di suo padre), io l'ho incontrato negli anni '70, ed è stato un incontro memorabile. Franco Loi has an idea "strength" of the poem, which goes beyond the dimension of literary aesthetics. There is a tension in his work political, philosophical, even religious (makes you think of Tolstoy, Dostoevsky), which in other authors of our century is absent, removed, or otherwise kept "under control". This diversity I was first shocked, then conquered. Other poets were important for me Vittorio Sereni and Franco Fortini, I had the good fortune to know personally, and then - to name just a limit to the twentieth century and Italians - Camillo Sbarbaro, Eugenio Montale, Sandro Penna, Giorgio Caproni, Andrea Zanotto.

- How is it in his poetry there is such a regular presence the taking of speech, of discourse and chat?
I feel much the power of the word, but its violence. They are very vulnerable to any type of speech: speak to me always seems a decisive act, with potential "magic". Whenever two people turn the word, is to decide which way the whole world. The talk tries to escape this seriously, but she also hatching a tremendous power. I think my poetry as a discourse that assumes the full brunt of this power.