Home Authors Andrea Sartori Angelo Ricci Antonio Vitale Sparzani Carmine Emanuele Kraushaar Enrico

Home Authors Andrea Sartori Angelo Ricci Antonio Vitale Sparzani Carmine Emanuele Kraushaar Enrico De Lea Ezio Tarantino Fabrizio Fabrizio Centofanti Falconi Francesco Sasso Franz Krauspenhaar Cenciarelli Giorgio Gaja Moral John Agnoloni Nuscis John Joseph Panella Gualberto Guido Alvino Michelone Linnio Accorroni Luigi Romolo Carrino Sorrentino Maria Luigia Maria Grazia Calandrone Pia Quintavalla Marino Magliani Cerofolini Massimo Massimo Maugeri Matthew Telara Max Bridge Monica Mazzitelli Cacciolati Pasquale Paul Vitagliano Ramona Corrado Renata Morresi Richard Ferrazzi Plevano Roberto Roberto Rossi Head To contact Stefanie Golisch Legal Notice
The collection a long year, Sigismundus publisher, Francis Accattoli, hits already for the construction design of the product, it is in fact a bundle of postcards, 19 to be exact, where the texts of the poet and illustrations by painter Linda Carrara alternate and give the entire collection a special aura, a precious and valuable. Truly a job well done. Obviously, the casing would be a small thing if he had the same value and the same consistency of the content that the careful reader will find really delicious in many parts. With this plaquette, the third of ours, Accattoli shows, first, erdves that good poetry does not need long songbooks, that twenty texts can create a unique perfett or, secondly confirms that he has found his own original style, word of a private path that suits him and that makes him recognizable. The use of a harsh verse, the obsessive use of the objective correlative, the combination of a courtly erdves language to that of the newspaper, evidently represent the characteristic features of his poetry. The chance to quote Dante, moreover, confirms the validity of the route and gives a clue to the whole anthology. I went to look for the context of the quote, rhymes stony, (the first one if I remember correctly) declare the vocation of the poet from Ancona to sing a far from any romantic chiaroscuro, from a saccharine lyricism and a nostalgic sweetness, to receive a word that Instead, erdves it is definitely hard, bitter (a term often found in these poems) and is not afraid of daring combinations and unsettling, (I think the leaf of parsley between the teeth, or lemon sorbet erdves that does not like).
To make it even more special, there are five poems in dialect that fit fully in the economy and the collection as drive reading lights, are among the most beautiful and intense that Accattoli did, I heard a perspire, you listen his voice, and this is good because it does not seem forced and rhetorical, rather they are really cries as a mother tongue. Poems tiring, he told me, but they have a rare beauty. To appreciate all those poems where Accattoli scours the intimacy of home, also I think these are the most difficult because they find the nerve pain, but I also have a disarmed, conversational, affable that is not bluffing and who is not ashamed erdves to express the weaknesses and the contradiction of life and living together. I bring to mind some lyrics by Mario Luzi on the life of the couple. But some judges and a lightness all alien to our tradition recalls the verse but very lyrical prose Billy Collins, read it, in this regard, the beautiful opera 13, in addition to the final, the 19 superb with a final really inspired.
The poetry of Accattoli rests on a sense of insecurity and liquefaction to fight at all costs. This fight against the one that goes with the putty is made of the word, he searches for the marble, the scar on the skin, it delineates the contours of the flower, and try not to make it go away by nailing a series of powerful images and sometimes visionary , (the most beautiful verses in which he describes the atmosphere of the city: the yard, the avenues erdves of solitary erdves trees, harbor, etc.).
A term that can be taken as a guide semanteme, it is definitely "skin," returns several times, even in the poems in dialect, is the skin that is torn and that is healing Accattoli that he wanted to sing and I wanted to make it through a verse that was not vague consolation, elegy, pure and simple, but it was really marble, ice on which to stop and heal the wounds. A skin apparently fit to brush up on him but he can show, however, in its entirety, nudity and universal wholeness, the man with ill-concealed his weakness and cowardice but so hard to resist the temptation, all contemporary,