"Iperfetazioni" Mark Palladini, Editrice Zona, 2009.
The figure of irony, often pushed into the abyss slip of sarcasm (from which withdrawal is a difficult task, at least in rhetoric and poetry) in the structure and broad expanse of poetic prose (fiction or poetry: poems that are almost small lecture or apologies, or otherwise insults, real and Catilinarian their love), these texts Palladini of "Iperfetazioni" as subcontracts to understand definitions, development of constructions of words, phrases of LEGO, a patchwork of metaphors and allegories, in painful and dramatic soliloquy, from which the desperation ' author dodges an excess of modesty, to avoid staging their deepest feelings - as in Greek tragedy is avoided in the scene to show the corpse of the hero, to avoid the excess of emotion - Save the shot of the face ferocious, sometimes dismissing with a flick of a rhyming couplet plunged into the swamp of self-pity or self-masochistic pleasure in the face of defeats, humiliations, disappointments of history, small and personal, or of history, one that ends up on school books. Disillusionment
private and public, therefore, divided into alliteration, puns and / or word games, feet stretched out, exasperated and singers, or deliberately dissonant in rich and voluptuous figures of speech, where the images produced boldly juxtaposed, as in the friction of different metals , from which rise shrieking reddish sparks, showers of words, repeated spasmodically, as if to emphasize ideas and ideologies otherwise incomprehensible or misunderstood. In
"Reconnaissance private", the first of three sections which make up the volume, preceded by an overabundance of quotations, ranging from Gadamer, to Genette, CCCP, by Manganelli, Brecht, Dante ("servile Italy ... "high invective, never so much as suited to these our sad times) - all fathers, we presume, the author, which is acknowledged and recognized again, probably - the poet seems to mean everything to itself, poets and poetry itself, however, disproving every cliché, denudation of the most prohibiting swamps, denouncing the most ugly vices, bitterly mocking (a fold of pietas always deforms the lips, close your prophetic word to pronounce) as He-Who-SA, because he lived every aspect of life, knows every aspect , I trod the paths more difficult to access, has fallen a thousand times a thousand times and it was raised and now points to those who come after him the difficulties of the road which is paved. Turning back, however, the poet seems to have nostalgic thoughts of horror and its "furious tirades" are revealed as the true strength of his personal poetry.
The disappointment of the story gets high poetry, the complaint without yielding to pathetic, dignified apostrophe in the world, declaimed with a lexicon "very new" (it's easy to find there the poets of the Sixties), extraordinarily "modern" or more "contemporary", but the sarcasm is even more daring in the second section, "Interzone", where the thrust of the allusive word becomes disruptive, touching the great tradition of comedy (not hard to see you or Folengo Rabelais), the accumulation of material non-wandering into wedges, through waste, or exchanges of letters and / or words, in the repetition compulsion, in the approach spills or synonyms or homonyms, which are the result of desire subtract, add and / or correct the above, or rice with a smile always lurking, when not to miss the excremental: there you have fun reading as a child to say bad words, to name the unnameable, to use the "K" as in the seventies (good for Kissinger, but also for our Kossiga), to revive old bands coprolalia, and recreates the old neo-romantic phrases, in the constant displacement or alienation caused dall'inusitato combination of fashion and different ways and recent / distant time, sometimes giving way to 'insert phrases in a foreign language or terms of the new coinage.
When we seem to end up having to superabundance of meaning, which allows us to appreciate how incredible the enrichment exhausted image and meaning, he begins the last harrowing section, "Public raids, in which the eye sore of the poet pauses to denounce the horror of history closer to us, where the presence of the bombs is more concrete and true of 'absence of God, everything is being commodified and are equipped with logo (although the statements of NO LOGO), while the poet continues in vain to mask the immense irony of pain overwhelms him in the face of so possessed of the Chronicle, in total absence a saving word, if its not this, poetic.
(Frank Farina)
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