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(en) Italy, FDCA - Il Cantiere #10-10: A Resistant Imagery Between Time and Space BY Paolo Lago - Francisco Soriano, fragments, Eretica Edizioni, 2022. (ca, de, it, pt, tr)[machine translation]

Date Sat, 24 Sep 2022 10:15:07 +0300


The "fragments" (as the title sounds) that make up this poetic collection by Francisco Soriano are linked together by an incessant movement between space and time and sinuously join up to form the formal aspect of a poem whose rhythm now accelerates , now, however, it decreases and slows down. The poems themselves appear as "shards" (we recall that Catullus called his verses nugae, "nonsense" and Petrarch proprio fragmenta, "fragments" in the vernacular) collected along a gait with picaresque appearances, an aimless gait that leads the poet to a journey halfway between real and imaginary: "I collect the pieces. / I realize / they are poems" - we read in the first poem, which sounds almost like a preface. Those shards collected on the street, along the way, they are molded and reattached together as in an ancient reconstructed mosaic, emerged from dreams and from an imaginary that could not be defined otherwise than resistant. It is from this imaginary that the shards emerge and the poet, like a charmer archaeologist, almost like the witch doctor and magician Fellini who dreamily recalls the ancient world of Petronius' Satyricon in the cinema, stitches them together to create that little jewel that we readers have now. under the eyes: a poem, in fact, built only with lowercase letters (according to a style that Soriano also uses for his suggestive interventions on "Carmilla online") that moves sinuously like a story that crosses inexorably, with its spirit at the same time lifeless and combative, an imaginary concretion of spaces and times.

The poem moves like the rhythm of a surf - an image that constantly returns - in a seascape that fluctuates ceaselessly in front of our eyes. And if in the image of the surf and the movement of the sea there are Montalian and Capronian echoes, the weaving of the "shards" reveals its aspect of "shining stone", as the poet defines time, and the movement of a dance, in another poem takes place "on the blade of a crystal". Because time is a crystal, as Gilles Deleuze writes, and on the one hand it can be written "save!" and on the other "lost!". And in an apocalyptic landscape that too resembles our reality, between indescribable spaces and time crystals, the new nomads of contemporaneity move, the migrants, whose movements are almost transformed into epic deeds carved on the walls of an era that knows only the now and its meanness, forgetting arcane and mysterious past. This dance of time-crystal sculpts, as already mentioned, marine and Mediterranean landscapes, mythological and made mysterious by the presence of arcane lighthouses and sirens: "And if once upon a time it was majestic / the hope / of a promised land / undisputed joy: / here the sprout, / branches and arms / to spread sails, / to capture winds, / wild visions before dark, / incandescent outpost of tomorrow ". Beautiful landscapes, full of a mysterious charm, as we read in the poem n. 43 "wonderful those baroque blinding lights / of the south, among the white stones just smoothed / by the anvil of the sun" - but inexorably marked by death and pain probably. Poem n. 44 contrasts in fact with those "wonderful southern baroque lights" the terrible image of immigrants drowned in the Sicilian channel, a tragedy that too often is repeated in the media indifference that envelops the contemporary world. From that southern beauty emerge the cries and voices of those who are dying and for us Westerners, by now, it is covered with innocent blood: "the putrid breath of the hypocrite crying in the infamy of / a television screen. / Submerged his hands / between reddish wings and petals swollen with death / they were eyes, / they were eyelids, / they were the fingertips of women and men ". Faced with these tragedies, the innocence of the past has been lost, even simply by reading, for example, a classic such as the Aeneid:

In the face of a time that flows continuously, immersed in a movement of resistance to the predictable order of the here and now that we are all nailed to, even space can no longer be enveloped by halos of distant and obsolete fantasies. Even the space must be imbued with a new and unprecedented resistant imaginary: "and then the spaces. / In the voice / gardens without enchantment / skin and shell, / winter flowers, / nor tales of stupid principles. / Space is this insomnia: / the dark weft, / dark, / the nocturnal warp of no-tomorrow, / of life / punctuated by the raucous breath, / day and night ". Because, as Soriano himself writes in a final note of the author (Final note of the author: poetry, this unknown), "it is desirable that the poem immerse itself in reality, decipher it and even fight strenuously". But to do this he certainly must not let himself go to arid and objective analyzes. It still remains poetry which, according to the author, "is not subject to any form of commentary and autopsy". Poetry should therefore recreate a resilient imaginary herald of new dreams that is nevertheless immersed in reality. Because it is only by acting in reality that the incessant movement of a new free and liberated imaginary can open up new forms of resistance and alternative universes, such as those that the poetry of Francisco Soriano offers us marvelously. Poetry should therefore recreate a resilient imaginary herald of new dreams that is nevertheless immersed in reality. Because it is only by acting in reality that the incessant movement of a new free and liberated imaginary can open up new forms of resistance and alternative universes, such as those that the poetry of Francisco Soriano offers us marvelously. Poetry should therefore recreate a resilient imaginary herald of new dreams that is nevertheless immersed in reality. Because it is only by acting in reality that the incessant movement of a new free and liberated imaginary can open up new forms of resistance and alternative universes, such as those that the poetry of Francisco Soriano offers us marvelously.
---
Taken from Il Cantiere n. September 10, 2022

Libertarian Alternative / Federation of Anarchist Communists

To request a copy of the magazine, send an article or a comment you can write to ilcantiere@autistici.org

Il Cantiere n. 10 Settembre 2022
Alternativa Libertaria/Federazione dei Comunisti Anarchici
ilcantiere@autistici.org
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