da: Messaggero Veneto — 05 luglio 2009 pagina 09
sezione: CULTURE - SHOW
PAOLO Medeossi
In the beginning there was a man who, tired of being alone, he dreamed of moving out of their silence, the inhabitants of the island where he was a child. The man, a poet, he tried to knock on all the houses of the village, a small nest protected by the nest was larger than the island. Unnecessarily. In the silence of the streets and squares he felt only the echo of his knocking. Then he realized that it was time to leave the island and his children and years of courage to start with unfamiliar roads, if he wanted to break the circle that kept him a prisoner of that world of stones. The man was Biagio Marin in a lyrical autobiographical tale (Tired of the usual / the man in Batu in the door ...) told him the condition of the poet in the degree of the early twentieth century while in fact trying to listen to those who opened the verses written in the dialect spoken by a tiny community fishing on an isolated island between sea and lagoon, little known in 1912 when he began the great adventure of poetry mariniana. In short, was just starting to go to discover its true brothers. Adventure became gradually over time in 94 years to life Biagio (died 1985) and even later, so absolutely amazing that his lyrics and his words are placed, like the leaves of a tree, everywhere in the most unexpected of cities, towns, districts unknown. To bring these insights and these beautiful images related to Marin, in what he wrote and left us, is now Anna De Simone, who has edited the volume Fifty poems Biagio Marin, published for Notebooks research center dedicated to the poet Grado, in a series edited by Edda Serra. It was presented in recent days, exactly on June 29, the anniversary of the birth of Biagio out that this was celebrated with a natural intensity and surprising. Originally the book is just the idea of \u200b\u200bcompleting what was in the mind of the poet who had wanted to challenge the solitude, a destiny, a world to make way for her fragile, powerful and magic words, which always remained similar to those uttered by children. 'Other poets - says Anna De Simone - following in the footsteps of Marin, even unknowingly, in that they obey a silent muse, dressed in rags, they told, each in their own dialect, life, the world, themselves. I believe that the authors of the fifty fifty poems proposed in this anthology are just the little brothers who had long sought by Marin. Younger brothers, coming from different places, of which in many cases go to the beaches of the third millennium. " It is, as explained Edda Serra, fifty entries that honor choir for Marin, voice response today to his voice and dialogue in their own diversity, yet compact chorus of voices chosen to represent fifty dialects, fifty languages \u200b\u200bpoetic landscapes fifty, fifty small countries, however, surprising in their unity. A unit made up of fidelity to the poet, the courageous choice of loving care and tenacious of his work and his destiny, which surpasses all narcissism. Among the fifty brothers (and each was chosen lyric), which are a bit 'all over Italy, many are of course the Friuli, the Bisiach, the Trieste, as Elio Bartolini, Luigi Bressan, Pierluigi Cappello, Ivan Jack, Nelva Di Monte, Amedeo Giacomini, Claudio Grisancich, Federico Tavan, Umberto Valentinis, Ida Vallerugo, Gian Mario Villalta, Leonardo Zanier. On each book offers a detailed section of notes to the anthology which eventually becomes a passionate look and reliable on the condition of dialect poetry in Italy (narrated by region) that, even if few know beyond the employees the work, is experiencing a particularly lively, as opposed to the apparent decline of poetry in general. Anna De Simone, of Sicilian origin, lives in Milan and always follows with great attention to our authors, mostly having studies and essays in particular, in addition to Marin, Virgil Giotto, Hat, and Tavan Vallerugo. In the text that opens his new book, after noting the tremendous efforts as a poet and discoverer of talents Amedeo Giacomini, who created the magazine tongues a key reference point for the whole movement of recent decades, reveals in very clear terms and a final notable aspect, writing: "That's poetry in Friuli in the late twentieth century is a phenomenon that is unprecedented and demands a discourse in itself: it has given us this land, the last part of the twentieth century, together with the Romagna, the greatest number of poets of a high level. Many have noticed, few have dealt with it in depth ... The dialects are dying - they all agree on this - but the Friulian language, in the variety and richness of its variants, he had never known past results as diverse and original, thanks to authors who have placed themselves firmly, awareness and sense of art out of the shoals of too much municipalistiche dialect poetry before Pasolini, for instance, and told with originality, without ever falling into a , life ... Thus the threads of poetry have branched out in all directions along a country whose name evokes a very ancient past, and have created a more varied and rich tapestry that could not be. " "I am a gulf," Marin said one day to friends. And the anthology that was dedicated just looks like a gulf mingling looks, talent, lightning, lost and found items, the "words of wood" evoked by Ernesto Calzavara. This theory, very musical voices, languages \u200b\u200band sounds is opened by a short opera written by Robby News, a beautiful hymn in Friuli for Marin, a poet of sea and wind, sea and Buera, "stop the wave of eternity." In conclusion of the trip there are a few verses of Biagio, the ones where it says that nothing is over and everything alive and present. Nint no 'I spent x / x, and vised live and present / a shekel just east and west / one only iluminào me.
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