Acerca de

CONTROPAR(AB)OLA

 

Di passaggio

 

Di passaggio per il cortile

bendato da un velo di noia

sgranocchiando qualche bestemmia

tutte in dialetto le piccole

storie che sanno di arsenico

come una freccia

un passero attraversa la strada

si sbriciola in mano

il biscotto dietetico

un luogo tiranno questo

né vincitori né vinti

di passaggio per le catacombe

batte al cervello la cadenza

di riti sacrificali remoti

presenti futuri

 

ha un bel dire la guida

che il tempo non passa.

​

This poem belongs to the first section and it presents themes like time in its tridimensional aspect (present, past, future) and territory seen as a space that connects history to contemporaneity. The poem is built up as a unique passage that has just a final full stop. The point of view continuously changes and the narrative voice is declined with verbs in the indefinite form ("bendato, sgranocchiando"). The narration is entrusted to various elements of the landscape: the sparrow, the biscuit, the place, the brain, the guide. It’s interesting to note that in lines 4 and 5 ("tutte in dialetto/le piccole storie")  there is a reference to the use of dialect, which however still hadn’t been used by the poet to compose poetry.

 

AB

 

Abeti abituri absidi in absentia

abluzioni aberrazioni abrasioni in abundantia

abisso e cacume assiderato abbaglio l’aria ambigua

                                                           che mi abbaglia

né so io ab ovo

come giacqui

donde nacqui tacqui e tacqui albume allume

                                                alone illune

si abbiglia si arreda va sotta

                                          cqua

                                                    affoga

perché ab imis

tra mulinelli s’invertigina elegantissima

                                         la trota

storie lunghestorie topografie tortuosetopografie

                                                                 in abiectione

(salvami dall’Abulia

dagli abortiti aborti

o abissale Albume).

 

 

The poem AB belongs to the fourth section, where the poet plays in a more explicit way with signifiers. It is built up on the alliteration of the prefix ab- and the power of words is exploited to its limit, even overturning the morphosyntactic rules ("sotta-cqua"). The experimentalism can be seen even in the neologism "si invertigina", where the poet creates a parasynthetic verb to give an image of movement. The pairing of two adjectives to create one word is original too: "lunghestorie, tortuosetopografie". The lexicon mingles technical terms to specific ones and to Latinisms, archaic terms to Latin terms.