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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.

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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. "