Anniversary For Coworker

undermine the strength of the "Breviary of November" by Alessandra Conte Interview with Yang Lian

"Breviario di novembre" (Raffaelli Editore, 56 pp., 12 euro) della Vicenza Alessandra Conte is a debut that stands for completeness and expressive power. No coincidence that this interesting collection of poems was awarded the Prize Guido Gozzano 2009.
The breviary, in the Catholic liturgy, is a book containing the Divine Office that the church must play at different times of day. Even the poems of the Earl of prayers can be considered, but of a very particular way. They, like Stephen Wilhelm writes in the preface, are both "pious invocation and raving blasphemous, and blasphemy of sacred music." The tones can range from a reassuring and enveloping maternal tenderness until you come to a vigorous and violent destructive fury. The period in which viene situato il breviario, novembre, il mese dei morti, dà ai testi della raccolta una nota funebre, sopra la quale si innalza la voce orante che ci appare all’inizio della prima poesia: “La suora bambola chiama / nel suo letto di noce che sale / con le pareti che si perdono / ancora più in alto, dove i rondoni / gridano e circondano di voli / i morti, fatti di scritture / e guano seccato”. Colei che intonerà le preghiere del libro è una religiosa, una suora, una creatura vivente, ma nello stesso tempo è anche una bambola, porta quindi in sé una dimensione plastificata e inanimata. È insomma una figura che sta al confine tra vita e morte.
In questa duplicità riscontrabile in suora/bambola is present throughout the core of the book that wants to restore life and complexity embalmed and deities now too stiff. The Count seeks to undermine the very idea of \u200b\u200breligion, seen too often as a raft of asphyxial precepts and dogmas, which empty the relationship with the sacred, emphasizing the sense of guilt, fear, distrust for what is earthly and bodily . Heaven and earth are reunited. Nun doll test so to build a new Theogony, which rejects a vision of masculine and authoritarian God and that through the wild and invigorating look feminine element force to overcome any alphabet, so any class, gender, time and space, any stiffening. Emblematici a tal proposito i seguenti versi: “Proteggi le mie strade / dal procedere dritto. / Donami linee armoniche / e allevia le nostre vite / dalla tentazione all’angolo retto”.
La potenza del femminino, oltre a mostrarsi nella voce recitante, si rivela soprattutto nell’immagine della Madonna che viene scaraventata giù dal piedistallo degli stereotipi. Essa ridiventa così una donna, caratterizzata non solo da una nivea ed irraggiungibile purezza, ma anche da una vischiosa dimensione terrestre che si manifesta soprattutto attraverso immagini che richiamano il rosso del sangue.
Anche Dio subisce la stessa sorte. La situazione tra divinità e fedele non è più data una volta per tutte. Dio può entity even become fragile, vulnerable, in need of care, which must be recast the features: "The god of courage is dead / rolling in the bank. At the bottom, / is reborn without memories, but / with broken fingers bruised face. O God, you do not know what happened. / Die really sleep. / Die you awake, sleep policing ". Rolling the slope of clichés, God can return to popular everywhere, remain intimately close to man even in the most mundane daily: "Now that you and sometimes your kingdoms kingdoms soffiaci / a little in front of you that your reign kingdoms / preparaci dinner. "

About The Liver Webmd

Fabio Giaretta

"China Is Near" is often heard to say. And in many ways, mostly economic, may also be true. However it would appear not to be so close from a cultural point of view. The Chinese culture, in fact, it is still quite distant, mysterious and vaguely exotic. Of course, increase learning it and you're mad about it, but there are still a minority, a small group of specialists. If the culture in general are narrower in the poetry, the number of its experts thins even more.
During the poetry festival say 2010, I had the opportunity to meet and interview for The Journal of Vicenza Yang Lian, one of the best known and most representative contemporary Chinese poets. The encounter with this poet has opened my eyes in front of fragments of a world that I totally ignored.

Yang Lian was born in Berne, Switzerland, in 1955 (his parents were officials of the Embassy in that country) and returns to China with his family in the same year.
before a long stint in the country, like most young Chinese poets in the seventies, and then a series of long trips in remote regions of China, are to him paradoxical poetic opportunities for research. Since 1979 began to publish some of his poems the journal "Jintian" (Today), after being introduced by Gu Cheng, met during the Spring democracy movement in Beijing. This magazine is the mouthpiece of a group of authors defined by the Chinese authorities "Menglong," that poets obscure, vague, imprecise because their poetry no longer obeyed the laws imposed by Communist Party officials. In fact, at least since 1949, serving the policy had been for decades the task of literature. Not published love poems or novels or short stories, but works only politically useful. But at the end of the Cultural Revolution (1976) the writers can finally devote not only to the masses. Emerge così una letteratura di critica sociale: è la cosiddetta “letteratura della ferita”, a cui si affiancano altri filoni letterari come “la ricerca delle radici”, “la letteratura della riforma” e, per la poesia, “i Poeti Oscuri”. Sul piano linguistico sono indicati come oscuri perché usano una lingua personale, interiore, legata alla propria esperienza: i concetti artistico-politici come “socialismo”, “capitalismo”, “storia”, “materialismo”, eccetera, sono concetti vuoti, non vere sensazioni, per questo i Poeti Oscuri tornano a parole essenziali come “pietra, terra, luna, sole, vita, morte, dolore” eccetera. Le persone che sono passate attraverso l’esperienza della lingua di propaganda, improvvisamente trovano molto difficile capirli, capire questa lingua “reale, vera”. Tutti i Poeti Oscuri condividono la repulsione per il partito, per il controllo governativo, tuttavia Yang Lian si distingue dagli altri per l’analisi dei legami tra storia, politica e cultura.
In questi anni Yang Lian scrive i poemi Taiyang meitian dou shi xin de [Il sole è nuovo ogni giorno, 1981]; Zi bai. Gei Yuanmingyuan feixu [Confessione. Alle rovine dello Yuanmingyuan, 1981]; Norlang (dal nome di una divinità tibetana, 1983; criticato dalle autorità culturali del governo, che ostacolarono la pubblicazione delle sue opere in China for more than a decade), Xizang [Tibet, 1984] and Yi (since 1985, the title is a transcript of a pictogram invented by the same Yang Lian), as well as several volumes of poetic prose, including Haibian de Haiz [ The child on the seashore, 1982] and Shizhe [He passes, 1985].
the late eighties, Yang Lian began traveling around the world, setting a firm point of collaboration with the University of Auckland in New Zealand. Yang Lian Gu Cheng and his friend are in Auckland where, at the material Tian'an Men of 1989, organized a historic reading of protest in the chapel Maclauren University. His statements against this massacre forced him ad un lungo esilio in varie città: Berlino (dove riceve una fellowship come artista residente da parte della DAAD), New York (presso la fondazione Yaddo), Sidney (dove insegna Lingua e Letteratura cinese all’Università) e, dal 1994, a Londra, dove tuttora risiede.

Oltre alle opere già citate, ha pubblicato diversi altri libri di prosa e di poesia, tra cui ricordiamo Mianju yu eyu [Maschere e coccodrilli, 1989]; Wurencheng [Impersonale, 1991]; Dahai tingzhi zhichu [Dove si ferma il mare, 1992]; Tongxinyuan [Cerchi concentrici, 1997]; Naxie yi [Tutti quegli uno, 1999]; Lihegu de shi [Poesie di Lea Valley, 2001].
Le sue opere sono state tradotte in 25 lingue. In Italia, his poems have been published by Einaudi New Chinese poets in the anthology (Torino 1996, edited by C. Pozzana and A. Russo) and in 2004 the collection was released to the sea where it stops (Scheiwiller - Playon, Milan, prepared by C. Pozzana).

Naturally the themes of poetry by Yang Lian rotate around its long wanderings and the human condition that it follows: exile causes reflections, in particular to itself, on its human and geographical location, language.
report here the entire interview with Yang Lian (a much shorter version was published in the Journal of Vicenza, 13 May 2010). I want to thank Marta Nori, a teacher of English Language and Literature Cinese presso il Liceo Pigafetta di Vicenza per il suo fondamentale ruolo di interprete e per le numerose informazioni che mi ha fornito e che ho ampiamente riportato in questo cappello introduttivo.
È vero che uno degli eventi che l’ha spinta a scrivere poesie è stata la morte di sua madre?
Sì è vero. Mia madre è morta nel gennaio del 1976. Io ero già per il terzo anno nelle campagne cinesi per la rieducazione a cui erano sottoposti tutti gli intellettuali. Prima della sua morte avevo scritto qualcosa, ma era tutto un po’ romantico e semplice, non avevo mai capito che la poesia nasceva dalla parte più profonda di me. Dopo la sua morte, in me si è creata una sensazione di vuoto enorme, anche perché ero da solo e non c’era nessuno vicino con cui potermi sfogare. La poesia è diventata allora l’unico modo di esprimermi, non solo per me, ma in qualche modo anche per parlare a mia madre. Quest’ultima sensazione segretamente è sempre con me. Quindi mia madre è stata quella che ha fatto iniziare la mia carriera di poeta, però non ha mai letto niente di quello che ho scritto.
Lei è molti altri poeti cinesi siete stati accusati di praticare una poesia “menglong”, cioè una poesia oscura. Come mai vi venne data questa etichetta denigratoria?
Prima di tutto per me poesia oscura non è un nome corretto, ed è nato perché la gente voleva criticarci in quanto could not understand what we wanted to say, as if poetry were shrouded in fog. But from my point of view, the dark poetry was the first time when we started to clean up the language after the Cultural Revolution. We got rid of all those big words like socialism, communism, and we went a bit 'at a time at traditional language, tradition or language. We talked about death, life, sun, moon, pain, but all in a modern way to express our feelings. Then somehow we went to the meeting, however, a traditional language to express the current situation. We expressed our feelings in our own language, and "own" I mean the individual language of each of us, so very different from the language of propaganda which characterized China.
What is your relationship with the classical Chinese poetry?
I write in Chinese. It is a language that has changed a lot and I think that there is no Chinese can say today that a Chinese person to be classical. I love classical Chinese poetry, but there is no way to copy it. What I can do is ask me questions and also ask questions to the language, the deepest possible. So from a philosophical point of view, I would say that my poetry is to express the human situation. The poem has to do with our lives. Even if I write this poem, call it modern, ancient classical poets are always behind me and watch me. When I compose a poem, or when I think of the music behind this poem, I also wonder what they think. I would say that my poetry is like a modern answer to the question which I have to gather evidence from all directions to be creative.
The final verse of the poem "1989" dedicated to the massacre of Tian'an Men says: "This undoubtedly is a perfectly ordinary year." It is strange to considering the tragic event ... When it happened
Tian'an Men Square massacre were all shocked by what we saw happen, we were desperate and disbelief. So I was raised this question: "Where is our memory for all the deaths that have been before this event, all the dead, for example, the Cultural Revolution?". It seemed to be the first time I saw the dead. If our tears are only used to wash the memory, then who can guarantee that it will not happen another Tian'an Men? In Homage to
poetry she writes: "I am a poet / if I want the pink blossom bloom / freedom will return." From these verses show great confidence in
poem ... When I wrote this poem I was still very young, so it's a bit 'romantic. But Thirty years later I find that my faith in poetry has become deeper and stronger. I think this global world is becoming a global cynicism and selfishness that dominates the union of power and money overall. Even if poetry is not rejected by this power and this money, however, is the poem to refuse them. Poetry is the freedom of thought and speech. Poetry is the place where we oppose our resistance ethics. Just for the power that poetry, I think that ultimately manages to connect and unite all those free thinkers that we are all over the world.
She now lives in London. Have you ever thought of writing in English? I think the
language has a lot to do with our origins. I have always been called a poet in exile. But I wondered: "Who is not in exile, when you're a creative person?". Because there is obviously a political significance, but also a language. As a poet I want to create my own language, so there is only one Chinese language, but there is a Chinese Yang Lian. I have three names by which I call myself. First call myself a poet of China. Why of course after the period of the Cultural Revolution, the poem speaks of the political difficulties of that country. Then of course I left China and I wandered to other countries and so it was that I made always realize that poetry has to do with the difficulties of life in general.
Also, since I write in Chinese, I call myself the poet of the Chinese language, but my Chinese is different from that of other Chinese. My Chinese is not easy to translate into other languages, and then they call me a poet who writes in "Yanglish", a mixture of "Yang" and "Inglese".
So not only the poet belongs to his mother tongue but the language belongs to the poet. It is our thinking, our creative writing that are the real root of the tongue. It is in this sense that I can only say that the Chinese tradition is a tradition that lives. All my viaggiare e girovagare ha come unico significato vero quello di rendere più profonda la mia esperienza che mi serve per essere creativo. È difficile però a me piace.
In cinese non esistono i tempi verbali, il verbo non cambia mai. Lei ha sempre sfruttato questa caratteristica perché, in un certo senso, permette alla storia di essere sempre riscritta e di esistere anche al presente. Qual è per lei la distanza tra presente e passato visto che non è sempre così chiara da un punto di vista grammaticale?
Effettivamente la lingua cinese è molto speciale. Si ha la sensazione che tenda sempre per prima cosa ad afferrare il concreto e poi un po’ alla volta torna indietro e fa scoprire l’intera situazione. Per esempio in cinese se diciamo bere il verbo non cambia mai, cent’anni fa bere, oggi bere, domani bere, quindi in questo verbo così fisso, stabile, è tutto compreso: presente, passato, futuro. Per me scrivere poesia in cinese è scrivere sulla situazione. Io la vedo come una situazione che non ha tempo e quindi per fortuna posso scrivere in una lingua che non ha tempo.
Quali sono i suoi rapporti con la Cina e con gli scrittori cinesi contemporanei?
Sono tornato in Cina abbastanza spesso perché amo mio padre che ha ottantotto anni ed è anche un modo per tenere un rapporto molto stretto con il mio Paese. La Cina di per se stessa è come una poesia molto complessa. Tutti, compresi i cinesi, quando think of China have very different and complex images in their minds. It looks like a communist country but also the big brother of the international capitalist society. It's not like the days of the Cold War with the struggle between communism and capitalism, but it's like a huge body that contains many contradictory elements. Continue the process of transforming traditional start of the last century with the introduction of new elements, especially economic. As a poet I can say that China is not only a problem of the Chinese. With its great economic power has forced the world to play according to its rules. All politicians when they go to western China normally do two things. First you must no question of human rights and democracy. But just finished this task, they sit down and talk about employment contracts. For me writing a poem and confront this international situation is very important. It is painful for me to see this game a bit 'cynical. It's a little 'a nightmare but it can be a source of inspiration. I believe that China poses questions as it is now all over the world: What is politics today? What is the true significance of literature today? What is the real link between life and literature, what makes literature necessary? If we can answer these questions we can grow and also help China to grow.
I have very close contact with my poet friends who live in China and I know that if they are good writers are not part of associations. Are in the same situation where I was when I was exiled only that they were being self-exile in China. But there are many young poets, and websites in which they publish their poems are very vivid. Now the Internet and websites are now as underground publications of our eighties. So everything is very lively but still full of questions.
Speaking of his poetry in which he responded to a questionnaire between 1992 and 1993, she has divided into two periods: from poetry to the short-long. Can you explain more about this evolution? Today, as we further evolved?
usually do not separate myself as far from poetry about poetry because I think that the specific form of poetry should be required than what I have to say.
For me 1989 was a watershed, before I wrote two whole books consisting of a series of poems I wrote after very long and very short poems instead. Before 1989, I wanted to dig into all the layers of traditional Chinese culture, its language, its classicism, its musicality and also its relevance, its modernism, then why the poems are very long. For example, the work is titled Yi is based on one of the classics of Chinese literature but in a very modern and contemporary. How to bring 5000 years of Chinese history in a modern poetry and a contemporary structure. After 1989 I was in exile, particularly in western countries and I did not speak English so the problem has been telling me what had happened. This is why the poems that follow the 1989 are so sharp, precise, neat, because I had somehow cut those emotions and feelings. Where the work stops, the sea, made up of several sequences of poems I found myself for the first time, after leaving China, to switch back to a much wider poetry. To return to what I said, between form and poetry there must be a necessity, that I write a lot of things experimental, I can return to the tradition, but there must be a classic encounter between my mind and my soul.
You said that "every Chinese character is a trap into which they fall one after the other generations." What does this mean?
The Chinese language is very flexible, allows you to play very well, but it is also very tricky. For example Ezra Pound created the genre of the imago, almost a game that could be done with the Chinese language and its characters. It has become almost a trademark of the Chinese language. But if I look at these games, in these experiments, I find them very beautiful in appearance, very stimulating, but just go deeper I wonder, "what is the reason, what is the need for which I have to do these games?". Even the imago has become a game yet. This game can be easy, because you play with the image, with the superficiality, the difficult thing is to descend into the depths of poetry.
She said: "The poem I am forced to accept reality." What kind of reality?
The reality is composed of many contradictions, and even as far as I'm concerned, there are many of these contradictions with which I have a little 'time to come to terms. So it's a question to accept external reality yes, but also myself. For example, after the Cultural Revolution, after the massacre of Tian'an Men, people always ask who caused this disaster. But if I look inside me I must admit that even a part of me may have helped create this disaster, this issue. Because now people are more reminiscent of the Cultural Revolution? Even Tian'an Men almost forgot, now we are all taken from this wealth and opulence and so, somehow, we are also responsible for having forgotten the dead. Now China has exploded not only from an economic standpoint, but also produces well-being for the West. When I see politicians who do business with China's western industrial and sign and exchange contracts money and produce more money, so perhaps they too are responsible for those deaths. Perhaps the only truth is the impossibility of basing everything on selfishness and cynicism International. I have this phrase that I came here in Italy: "Starting from the impossible." I think that poetry has taught me how to look inside of me, but where to start, when to start to go out and break something.
In China quietly moving his books or is there some form of censure against him?
have been republished in China after the massacre Tian'an Men and again in 1999, that is ten years away. My books have been reprinted and have also sold quite well. I always work on at least two levels, the poetic and the political. Two years ago I was elected as a member of a group of international poets and then after my website was blocked by the government. The situation is complex because I can go back to China, but when I do I get looked at very, very closely. It is a fairly typical situation in China today, and in particular independent writers are watched very closely. Of course they can not control everything that's on the internet, but only a few independent intellectual sets foot in China, it is checked in person.

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Interview with Edoardo Sanguineti (April 28, 2010) Interview with Douglas Dunn

Di Fabio Giaretta

Edoardo Sanguineti I always imagined I'd like an iconoclastic revolutionary, surly and morose, animated by a fury vanguard ready to overwhelm everything and everyone. Instead, the person I interviewed for the Journal of Vicenza on April 28 after the 2010 meeting of Dire poetry (poetic exhibition held in Vicenza from March to May, which always boast, among its many merits, that it had offered in Vicenza ability to meet the Genoese poet in what most likely was one of his last public appearances) has been totally different from my unfounded fantasies. I have been greatly affected and displaced, as well his sharpness, his darting intellectual vivacity, the subtle irony, his exquisite courtesy, affability, generosity, the lack of any snobbish posting. Our interview was to last fifteen minutes. Needless to say, it lasted much longer. Sanguinetti was a great conversationalist. As he wrote Gnoli Antonio, he knew "to be intriguing, light, strange, paradoxical, as a late fruit of libertine thought." From that world he had inherited "the clarity of view, the capacity and taste for provocative orality that lets you easily wrap immorality." Sanguineti fact disliked 'the conventions, predictability, excess order, uplifting speeches. " When I was forced to turn off the recorder because it demanded for dinner, I had a thousand questions in mind that I wanted to ask him. I was planning to expand our call this interview, but now unfortunately no longer possible. Remains the privilege of having been able to meet. (Here I wish to thank Stefano Strazzabosco, curator of the praiseworthy, for allowing this meeting). Here are the complete interview, output in the form a bit 'in the Giornale di Vicenza reduced of May 4, 2010.
How important do you think had the neoavanguardia and Group 63?
Credo sia stato un fenomeno importante non tanto in quanto gruppo di per sé ma soprattutto perché sciolse una specie di tabù. La cosa si può anticipare perché nel ’61 esce l’antologia dei Novissimi curata da Giuliani. Quella fu una rottura nella poesia italiana molto forte. Quasi tutti eravamo poeti, in tutto cinque, che avevano già pubblicato, però la raccolta dei nostri testi insieme diventò una sorta di manifesto e produsse un effetto molto forte. Cominciava un’epoca molto diversa. Come disse Arbasino, era ammesso che l’ansia di nuovo si manifestasse in America, in Europa, ad esempio con la nouvelle vague, le nouveau roman e via discorrendo ma non in Italia. Anche chi leggeva libri e aveva una some knowledge of Kafka, Joyce, Proust, etc., in the end it was little affected. We then breaking a taboo. The group had the merit of encouraging a new kind of intellectual who was no longer the pure scholar of the Hermetic tradition and even neorelista, that in poetry, however, gave very poor results. Breaking the taboo meant that all of a sudden he thought it was an intellectual current with linguistics, structuralism, psychoanalysis, sociology and so on and not that of pure literary Hermetic tradition. This was the strongest influence, influence that went out with the '68. Politics undoes the group: there are those who have no political interest and there is who is campaigning for this or that party, not necessarily the same.
What legacy is left today of that experience?
She was no longer to confess. What was the strength of a challenge, wanting to be different from the old intellectual figure is no more. The poets go Costanzo show, maybe even often broadcasts the series, like that of Fazio. If one makes a new record, a new book, go there, because it is launched for a week gets attention and success, comes perhaps at the top of the charts, but then, after a while, turn off the enthusiasm. The weight, however, that he had early experience was very strong, all changed the way scrivere, da Pasolini a Luzi a Moravia a Zanzotto. Smisero quel loro atteggiamento che era molto ermetico, neoermetico, postermetico e capirono che facevamo parte dell’Europa e del mondo. Si svecchia insomma la poesia italiana.
Nelle sue poesie si nota una grandissima attenzione per la corporalità e per la fisiologia. Per quale ragione?
Ci sono molte ragioni. Prima di tutto io sono un materialista, proprio nel senso del materialismo storico. L’anima per me coincide con il mondo psichico, che certamente ha una sua esistenza se interpretato soprattutto in termini psicanalitici. Io poi con gli anni sono diventato sempre più groddeckiano. Groddeck era una specie di strano personaggio che diceva alcune cose assai poco attendibili but he also had extraordinary insights. Freud admired him a lot, even if tamed, as a whole had different ideas, but the concept of Es understood as unconscious deep, took it back from him. We are bodies. This is my basic idea. Telling a story of an individual is first and foremost the story of a body. We are born animals, then we try to domesticate them socially, however, move from nature to history is a difficult thing. Switching from the original bestiality in an attempt to domestication, culture and historicity, is a terrible fatigue for those who have to do it is for those who must implement them, for a child and adult to become conscious is also laborious and exhausting for who cares. Taming a baby is a hard thing. Then there are certainly more subjective reasons, that is a strong interest in the theme of the body, first as the body of pleasure, as a place of ecstasy, which involves the whole sphere of eroticism and desire, and secondly as place of suffering, of suffering and finally disintegration and death.
His research is based on the art knows well how to write badly. What did he mean by this paradox?
was a paradox because he wanted to reject the style. There is a verse of mine that says today is not my style to have style. On the one hand means you do not want to lock me in a way of writing, in style. So in every book I do, even in translation, in the essays, I try to address new issues. On the other hand do not have style in the usual sense of the word. Being a man who has a style is to have good manners and all. Rejecting a style, in this sense, means giving up that kind of education that often hides un'insincerità courteous, a false kindness. This idea was born in Holland. I was in Holland with a German poet. We talked about the art of writing bad starting with the problem of translation. Knowing how to write badly, that people's eyes may appear as a lack of style and elegance, is a way of trying to tell the truth. The
his verses over the years have opened up more to the everyday. In his poem, recipe reads: To prepare a poem, take a little fact true (possibly fresh daily) ... How come she was born in this need?
The poem is very ironic that she mentions, looks like a cooking recipe. I tried to address the everyday. This poetics of small true fact has become dominant in a long phase of my writing though, as usual, trying not to lock in style. But this recognition of the fact true, where are indicated the places, people are recognized, there is the number of hotel room, this excess of precision I tried a lot. I tried to switch from a poem relatively much more abstract, we use this term for a poem iperconcreta. Existential or evidence as it was once a term fell out of fashion, the evidence for the existence.
What is your opinion on contemporary poetry?
As I mentioned before, with the end of the seventies, not only in Italy, the poem becomes a matter of success. You want to sell. The attempt to commodify it was exactly the opposite of what the avant-gardes had practiced. They supported the idea of \u200b\u200bthe goods and therefore were not against creating museums. We had tried to return as a strong point of the idea. Much of this effect has been weakened, however, breaking completely. Are still widely used elements began only in the group, such as certain modes of language, but all the strength context, it was turned off. You want success.
In our commercialized world, what should the poem?
I think the problem is, and this is a historical materialist, able to be realistic. Of course she will tell me, and anyone else would tell me, what it means to be realistic? That's the problem. Obviously each of us has an opinion and the reality of what the true representation. Gramsci said something very important: the culture is not important have new ideas, anyone could dream worlds beautiful pink and the rest of the themes of this kind were already present in Marx and Engels. We must endeavor to indicate the lines of development, which are continuous, because the world is constantly changing. So if I listen to the news, read newspapers, I can tell, so I have to constantly upgrade my way of perceiving reality. This is the problem. From this point of view, it is very important to end the political position that can take an author. What is important is that one side is via a drive anarchic original of revolt and protest, and on the other hand, the ability to say: this is reality. This affects very little today. The poets say, we are not engaged, left and right do not mean anything.
His poems always have a very playful character. This is also evident in unpublished sonnet that she wrote for Vicenza ...
poetry has taken over more and more forms of wordplay, but not free, next to the search for contrainte, of compulsion. Write a sonnet means accepting certain rules. If the rule is accepted by exaggerating the wiles of complication and autocostringimento, it means that you are not looking so pure game but to experiment with new forms of language. The sonnet I wrote for Vicenza in the current state is perhaps the most acrobatic sonnet I made for the complications of construction, the allusions that are present there. So there is an aspect of the game. There is a famous phrase of Hölderlin, who liked to Heidegger, who says poetry is the most serious game there is. I believe that this seemingly game, fun, can become a very serious instrument. Change a word, a verse, complicated, is not an arbitrary game, but very serious because it draws attention to the language and words. We must be careful with the words you use. You must bring attention to the weight that has language. Tell me how you talk and tell you who you are.
You have defined an optimist catastrophic. What do you mean exactly with this definition?
catastrophic optimism stems from this: I think we are on the threshold of an economic and social catastrophe without border. This is getting closer. Today happened to Greece, Portugal, tomorrow we'll also. Is happening everywhere, the United States are already fully invested, I do not like Obama at all. The only ones who play a policy, may like it or not, very smart, are the Chinese and Indians. Optimism is linked instead to what he said Gramsci: the optimism of the will and pessimism of reason. Just because I am a pessimist and think that the catastrophic disaster has already occurred, it is just simply di prenderne coscienza, bisogna cercare di moltiplicare l’ottimismo della volontà. Il tempo è pochissimo. È necessario che rinasca una coscienza di classe della massa enorme di proletari e sottoproletari di fronte alle élite di potere che è dei Putin, degli Obama, dei Berlusconi. Bisogna riprendere una coscienza critica di classe. Adoro quello che diceva Benjamin: Quello che ha rovinato il mondo è l’idea socialdemocratica riformistica per cui bisogna pensare alla felicità dei figli. Lui diceva invece che il problema è vendicare le sofferenze dei padri. La poesia può servire a far prendere coscienza di come stanno le cose.
Sanguineti quindi è ancora un poeta rivoluzionario…
Sì, yes is a word I like very much. We need not reform but revolution in the Marxian sense of the word.

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Here is the sonnet, which he dedicated to Vicenza Edoardo Sanguineti: As you can see the initials of each verse form Vicenza (first seven lines) and Azneciv (last seven verses). Moreover, every word of every verse begins with the same initial letter of the word. It 'a sonnet a bit' particularly since the two triplets instead of being at the end are at the center, framed by two quatrains.

Sonnet Vicenza

Extensive verses virile, vital,
in envy, in innocent businesses,
clash with columns, strongly
Ezzeliniane, highlight, extended:

new nodes, in the noble dwarf
limping, blasts zolforose
They learn Astati macaroons, arcane:

Asparagus Andrew, water loving,
Zeno areas silenced, crocuses, storytellers
newage, trinkets:

's Eunomia, endemonicamente
Cangrandesche, cryptoporticoes, churches
Enchanted, ieromanticamente:
vicus I see, under vespaiolese: