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Nicola D'Ugo

is precisely the answer,
dear mother, that I might seek, as individuals we

waste of time and old together for a
that still does not reveal new
its shape. That is neither myth nor history nor
progress.
Franco Marcoaldi [ 1]

In memory of Allen Ginsberg and John Martella

In a time when you go faster the aesthetic appreciation (also works of art), some older artists and poets, as in the good old days are profferli honors in the most number of occasions, the exhibition represents an individual path and time, the presentation of a book, citizenship and honorary degrees . These events, seemingly devoted to culture, have little to do with the actual use of the works of the celebrated and, as a source of little sparks, they produce a subtle effect on the community, who can identify with rather a pernicious failure: the promoters and interpreters celebrate a past event which is, yes, still alive, but not the end of the revenge of intelligence and the sensitivity of the narrow streets and alleys of oblivion but rather a guarantee by the Rite-autopromossa cultural academy, the political entrepreneur, operator of a cultural hand-blatant, and sometimes really unaware of impunity part of the Italians which art and literature are not entirely reluctant. These Italians are in fact misled, since the literature is true within the rules of the community, and you stay well, only when it is calm. I do not seem to find such serenity now in Italy.

Moreover, the political class that celebrates authors fervently working decades ago is exonerated, with a decades-long strategic distance from the neglect of his predecessors, as if to say: "See? We are different, we love the culture, sustainable, just as they did in previous decades the politicians pay attention to older artists and intellectuals of his age. Let us now be the deus ex machina curriculum of some politicians, who can also boast a critical task over, but critical service, that is pure and annotation and presentation of this or that, without sinking its assessment in the contemporary global land (and in the meantime West) and in its possibilities, needs and aesthetic achievements, even if it means clashing with the community itself: to avert such an outcome is that these are not a politician, whose career must seek the consensus of the most popular sovereignty that anthropological insights that could undermine the crisis.

The celebratory event is repeated, then, far from being of benefit to a large collective culture and horizontally stamped, addressed almost exclusively to the protection of political and economic power of those who officiates. The danger is spotted and avoided by the stormy political intrusion in the administration of the moral and material culture of the community, in its interest of issues that should be exclusively the domain of politics. This fear is understandable, given that today is ahistorical any attempt to curb the invasion of other social categories in that sphere. Examples of cultural invasion apparently are many, starting with the known and 'scandalous' election of Ilona Staller, alias Cicciolina, the Chamber of Deputies: the one that appeared to be a striking fact, it was really just the culmination of a phenomenon that swarmed under for a long time [ 2] .

Consider, meanwhile, that policy is added to the instance when a representative capacity aesthetic itself, which calls for collective participation that feels it is not only rhetorically informed and formed, that is when you live with the instrument of rhetoric horror and sickness of millions of men in this and other countries and the absurdity of the current political solutions (as well as the welfare of incantatory Heidi), when, again, it appeals to the intelligence and sensitivity and astuteness which characterizes not only the political class, then the political must actually fear more than it does in seeing the parliamentary seats, singer, television presenter, a journalist, a lone writer enabled [3 ] .

Moreover, the willingness to ghettoization of literature and art is already easily seen in the performance of the politician in schools. Even more serious is that there is a cultural policy of the Authority. The principle is the same as any activity that addresses the political and administrative culture: disinterest Italians to contemporary events.

The principles supporting school: the importance of biography (roughly already canonized by a castration, which coincided with a rise otherworldly dell'Alighieri with a kind of asexual, that even if true in its Comedia should at least be told the conditions), the explanation of the meaning work. The critical assessment of the students are not usually stimulated debate among students is avoided (for obvious reasons of time), the direct approach with the text of the student-that is without any comment by the teacher-is resolutely averted and too often, it is implied that the student has the audacity to tell a work in its own way. Furthermore, the contemporary literature is completely ignored, except when it comes to, say, or some reading Pirandello badly canonized by Eliot and Beckett's reckless, and except for some quixotic Sisyphean effort of teachers, as if these great composers of the past were really contemporary teachers and students.

The very idea of \u200b\u200bcontemporary cultural , once adopted by the State and founded on the demands and dictates of politicians, in fact becomes a lie itself, supported from the innocent language of the student, who needs to business tools for the interpretation of the times and its differences, but the contents of which fell within a depth of interpretation that is not the official state. In fact, in schools, using words whose meanings are complex and, again, with them a simple value, immediate and outraged. The contemporary becomes a classic of the twentieth century that uses the dangerous characteristics of the 'posthumous' on which he focused his criticism in recent years Giulio Ferroni [ 4] , when compared to its dangerous' Current scenario of literature, culture and Italian poetry, already too burdened by the past, to the point of trying, in recent decades to pursue the paths of the boldest experiments in search of that 'originality different from the two bulwarks synchronic and diachronic originality and authenticity [ 5] . This idea really distracts attention from contemporary events and check the shafts of the authors of the recent past, whose rage against their contemporary or is no longer the basis for the use they have made allegories of their time-to-o is understandable relegated to a condition of the community also, "posthumously", perfectly closed in their era, and that they were more to do with us (and leave out the alibi for a moment, abusatissimo, the universality of the human and the aesthetic ).

More than a Rector has noticed, over the past three years, that the Faculty of Arts students are rarely called upon to write, and, in fact, write badly. This discovery glimmers like an epiphany during the compilation of the thesis, when prompted to university thinking articulate and informed. It occurs to me that does not exist in Chilean universities, for obvious reasons of public health, the Faculty of Arts.

This is a long introduction that a bit 'off topic is actually the context in which it is required to exercise the profession of the critic and that of the writer in general. Do not omit an item that actually does not feel silenced, or that in Italy the crowd and almost infinite number of laws to be observed and bureaucratic formalities to be carried out is perfectly crafted to give Italy a medium limited time for reading and meditation, and away from another culture: the civic. Indeed it would seem that all these laws are the expression of a desire for the removal of Italian leisure (as well as the awareness of their rights).

A to shoulder the political class printing . Blablabla behind the 'speech' policy, which focuses on himself all the contemporary graffiti, can not and should not be off the voice of contemporary writers, who were in the hands of all , would undermine the great theorems of politicians and reveal, as some do, but in homeopathic doses, the contradictions, hypocrisies and deceptions of a society that is falsely (and more consciously) and told by the political journalist (except for rare mine stray exception). So the works of contemporary writers can end up rather in the hands of anyone . This difference between and all- anyone who seems laughable-ensures the primacy of political graffiti on the aesthetic discourse, philosophical, anthropological and sociological.

The press, in fact, produces culture as the political class wants: unashamedly pretending to play a critical date for the benefit of the community, hiring, in the case of newspapers and national weekly, big names, key signatures, and 'covering' arguments that count. Of course, the most prominent names have not the slightest intention of causing harm to the culture, they lend their works to the benefit of the community as it provides them with an inadequate means, as if to say: "Better this space that silence." These intellectuals must not hardly be blamed for their adventure this work, since, in many cases, they do not establish a complicity, but share a mutual use of the two entities (the newspaper, the essayist) ideally and strategically irreconcilable. But it would be appropriate to draw attention to them, being already self-conscious, to reflect on their relationship with mass media.

carefully leafing through the pages and inserts cultural de Unit , the poster , La Stampa, Il Corriere della Sera , the Republic, Il Sole 24 Ore , Time, The Messenger one is led to believe that in Italy during the week brought out a few dozen books. And the myriad of other authors, and hundreds and hundreds of publishing houses dotted around the peninsula daily commitment to publish new books, often hilarious, often valuable? Not if he knows nothing, and nothing if they know, unless a book is moved from a small publisher with a bigger publisher.

The same press freedom, understood as freedom of expression, is actually reduced to a few faculty members of the community, starting from the figure of 'director', as envisaged by Italian law [ 6] . Indeed, newspapers are responsible for their press freedom, and culture is treated as what is easy to recognize by means of inserts cultural they enclose: a cultural homogenization through light-hearted one and the other head. The critical task, not supported by an aesthetic that departs from clear principles are universal, meaning that recognition of a human faculty, that of view, it reduces the presentation of stories to read, thoughts to share, solitary moments to be taken (fiction, nonfiction , poetry) and some reviews that seem not to want to put in a dialectic with the other's state of knowledge and training.

publications poem Unit 2 corroborate any were needed, this thesis. Poems of William Blake, Charles Baudelaire, Antonio Machado, Robert Graves, Scipio authors mostly militants for decades and centuries ago in another Europe and another in Italy, who were for some of them similar to this but, meanwhile, did not share the great faces, names and events of the present. Even a song like "Theology" by Ted Hughes, a poet no longer young but still working, goes back to an Italian edition of twenty-four years ago, and there is no reason to be published out of context, since, in its extrapolation little he appreciates the meaning and design of the author and also the issue of reference is no longer available for several years at the publishing [ 7] . Thus the opportunity volume of output for Garzanti The hypothesis of circus Luciano Erba you an excuse to give the reader two short contemporary poems, 'spin doctors on TV "and" A school look, "and an essay by Cosimo Ortesta (' wistful search of elsewhere), which focuses on issues of "drama" and aesthetic, without confronting the contents of the work, without initiating this conversation with the author that makes the individual culture sensitive to the demands of others and why growth for the collective, the case is offered by the verses quoted by Ortesta of Grass: "Among the damp walls and peeling / a hotel room that he knew / mildew and brown ie chestnut / I want to pitch a love / or die as a Salesman " [ 8] . Perhaps the desire of death is too obvious, too inherent in man dwelling on, perhaps the poet is all in the aesthetic that is the measure of too much contemporary criticism, or the 'love of step "too obscene to tackle the meat and desire?

I can only hope that one day you read about these titles (if you really have an interest in a contemporary culture of the community turned to the court and not the 'learning' response to the mere statement of the editors) poetic reflections new and newly written [ 9] . It will be necessary, of course, a review of the existing editorial staff, but the effort is Herculean.

From a calculation that anyone can do, taking into account the current headlines coming out every day in Italy, it is easy to see that in this country could be thousands of unpublished poems published the year, which would be collected rather in volume at a later time. Just as they appeared in newspapers the less noble panes of horoscopes and crossword puzzles.

This observation is not a suggestion that the Italian newspapers, but the proof that what they conceive to poetry and culture has nothing to do with contemporary culture except as facimento of a tradition (the invention of a tradition) and, via the policy pursued by them, going to materialize for generations to come, with disastrous results all too evident to the community and the relationship that this creates with their culture. Who, among the Italian editors, referring to strange rules of 'modern journalism' to justify the absence of poetry in the newspapers will be invited to send a few copies of a U.S. newspaper of wide circulation even of the most daring: the Los Angeles Times .

Moreover, in many cases (in many cases), writing in a newspaper means exist: it is the existence of individuality, of his work and interests to be put in issue and in view. It is the point of view-inside-a day which seem unlikely to be the subject of a crisis. The eye of the critic is, in these cases, a myopic and astigmatic eyes, starting from its thematic work and dwells with an increasingly uncertain about the contemporary world. Instead of starting from basics aesthetic can move through a more universal reflection of his time, he moves through the poems, looking around among the balustrades of the movements preparatory courses and identifies, maybe even the future achievements. This last point, namely that facing the contemporary true, entails the risk of myopia and astigmatism of the poetics of the similarities and contagion, malcurato to hurry the events of first contact with cultural and aesthetic, and too often at a distance from Foreign remedies, from large international research centers, but that these must necessarily be identified with the institutions. It is in this space for receiving the criticism it easier for the foot mode, even if you call it by another name, even if there are large movements in a nutshell . It is here, if anything, Ferroni's speech on "posthumous" right of being a counterpoint. No wonder, then, if a senior author continues to write authors of which were green when he embarked on his career but now despite the label of contemporary , appear to be, in many cases, long-standing, in the best of classic twentieth century.

Nor can we be surprised if the current cultural context and that the enjoyment of poetry are always better apparent crumbling, as the poem as the mean daily entertainment and culture, but is not playing a game of interpretation and entertainment increasingly characterized by extremes of charm and riddle mentioned-but for different reasons-by Northrop Frye decades ago the Anglophone reader [ 10] . The options of writing tight, so clearly told by Giacomo Debenedetti, which should make you think of misleading conception of poetry has dominated the twentieth-century Italian, but born in philology aura. As a complement of a single framework, while the former was closed in riddle, the second was revealing the flesh of the thirteenth and fourteenth centuries and everyday Italian, either through the tool of historiography is due to the revaluation of the manuscripts that led to the successful edition of Comedy Dante of Petrocchi. Still, while the poetry Montalian, availed itself of literary terms such pegol, grammar etc.., Those same terms were identified as everyday, colloquial in thirteenth and fourteenth centuries, and it showed, in contrast, that the variant pitch was already covered by the Latin pegol. In other words, while the hermetic poetry took refuge in a distinctly literary tradition and contemporary society by far (but more poetic prosody), philology Contini points out, without exaggeration, a closer relationship with the community of poetry of his time. In fact, the obscurity in Italy coincided with an era the history of the Republic in which he avoided a unified corporate culture that does not coincide with a culture of fact-imposed from one culture to greenhouse-so much so that when this artificial culture and not in the individual was free to meditate call into question the achievements reflective and political changes, it is not clear today which ethics have to travel our country and how the current anarchy and particularism uprights possan coincide with a sense of national unity and sharing the collective destinies. The obscurity of this is, in fact, only one aspect that has invested and roost on Italian poetry of the twentieth century for over fifty years, even more serious when one considers represented by its international master figure of Montale [ 11] .

There is now proponents talk about tradition, as if these could be decisive of the critical debate on contemporary poetry. There is no doubt that these talks are supported by a large twentieth-century literature criticism, but it should be borne in mind that they are in the same tradition of thought that led all'elitarietà the Italian ghetto of his poetry. The tradition, as represented today, and never can be said universally uniform nor universal in its linearity or, more simply, linear, because or tradition is shared by at least a collective culture-and then is already difficult time and space to be universal-or is not in terms of any collective culture that can aspire to universality of its content and, therefore, is not, and best, and that unitary linear sparingly. As we are concerned, there is currently no collective culture in Italy unified, intimate sharing and any belief that can not be erased from the memory of the community in a very short time. But that's another story. In fact, the panel eliottiana on tradition and the 'objective correlative', in particular the near identity of the two that found in The Waste Land ( The Waste Land, 1922), moved, seventy-seven years ago, the terms of the question of individuality romantic [ 12] . The proposed Eliot was to remove the components of autobiographical opera taking place in their traditional objective correlative. We can clearly see the transition from certain elements of autobiography romantic all'autobibliografismo Eliott, in view of how The Waste Land has been accepted by European and American culture, merely observing, in addition to contemporary reviews, and the absurd disappointing search for the sources of the work in symbolic From Ritual to Romance by Jessie L. Weston and The Golden Bough by James G. Frazer. This research coincided, except with a romantic trip to the lakes, no doubt with a useless and tiresome trip to the library: this is what still happens in academia and in an area elitist who can not or will not recognize the current social framework, in which a standardization, because it is such, should not be simplistically defined in terms of culture or no culture, unless you recognize in one way or another in its manifestation.

This does not mean, of course, that it is unnecessary to look at the great works of the past. What is astonishing is the attempt to establish a discourse on the problems of contemporary poetry from its concepts such as that posthumously, as it seems like Ferroni, in fact debasing all that is good in his recent book Einaudi.

Ferroni wrote in "Presence of Silence": "In this perspective," posthumous "of course you define the meaning of the persistence of the" classic "and the relationship with the" classics ": beyond a lot of talk recently about" classic "and on reading the classics', for poetry is more necessary than ever to look at what's essential we have left the great works of the tradition." [ 13]

goes without saying that this essential is still debate within that Europe has brought poetry from the salons to the academies, while it will avoid phase column that he wants the poetry back in the salons. If you are concerned that the poem, going somewhere, going even in the salons, there is a real risk that it will not go nowhere more. I know that this is not the sense of affirming Ferroni, but can now be an undesirable effect. And yet, when he says: "Today there can be no poetic language that, as such, may contain within itself all the historical density of this: among the countless languages \u200b\u200bthat travel the world, in the tangle of words, messages, images, signals, noises every time they move in all directions, multiply in endless reproductions, reflect on themselves and intertwine with each other, poetry can create spaces Language interstitial, small pockets of resistance, which can draw on both experience levels and leaving more common than the more subtle literary, but still quite 'elsewhere' than the mixture of languages \u200b\u200bthat make up the current communication, "comes from noted that "all the historical density of this' is not with certainty be completely understandable by any contemporary, also described the contemporary languages Ferroni are so similar to the myriad of languages \u200b\u200bexpressed in the twelfth century that light up at the end of the second millennium offers too spontaneous to a question: whether there is reason to believe that in the twelfth century was conceivable work historically dense of this, when it was interpreting, per speculum in aenigmate , another language much more complex, divided and uncertain (the language of nature) in order to identify, within human limits, the divine truth: most essential ones. Yet, for as we have been handed down, that period coincided with the birth of our own literature and the flourishing of works for their "impossible absoluteness' is still of great interest and charm: a reference point for many contemporary authors, and unsurpassed luck at our academies.

could be a long debate on the great works of the past and their contemporary world, just taking some of the suggestions of the critics eliottiana more salty. But there is rifarebbe mostly at the hands of concept, not aesthetics and, once again, we scan the direct approach to contemporary works. Doing so would turn the man of today-l 'author, the reader and the child-feelings and places that belong only in small measure, depriving him of an art and a literature that, beyond any literary elite, invite him to reflect and to reflect and express the feelings of their time and the ever-expanding community of which it is intended to be part, rather than keep them away from contemporary events. Serious harm to the community that I personally do not feel the soul of support, increasingly they are far too many people who, with malice, they do everything because it will be sustained and prosper.

In this attitude will be necessary to offer a critique extended to the ways and means of communications and a poetic approach of a bardic the other in contemporary time introduced: I do not see how else you expected to achieve comprehensive solutions that meet the contact of poetry and its reception in the large floating among the media community.

[ you can download and read the original editorial essay in the format by clicking -> download PDF]

[published in: Praz!. The craft of criticism No 6-7, 1997, pp. 42-49. ]

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Notes:

1. Franco Marcoaldi , Celibi al limbo , Einaudi, Torino 1996, p. 29.  
2. Cfr. Jean Baudrillard , La trasparenza del male , Sugarco, Milano 1991: in particolare i capitoli riguardanti la transessualità, la transeconomia, la transpolitica e la transestetica.
3. Su politica e cultura vedi: Alberto Abruzzese , Analfabeti di tutto il mondo uniamoci, Costa & Nolan, Genova 1996.
4. «Prima e al di là del riferimento a una verità trasmessa e "tradita" l'orizzonte "postumo" delle scritture e di quella che noi chiamiamo letteratura) will be recognized for something set in their "after", drawn from experiences in their present something that remains "after" in their persistence when they ran out of life that created it. In this sense, one should pay attention to the material nature of writing itself, the spatial and temporal limits of real life, the same randomness and uncertainties of the individual and collective, namely that of the individual authors and that of social groups, civilizations and cultures. The condition of the posthumous writings are first and foremost is the inevitable relationship of any experience with death and destruction and the continuation of something which, precisely in its being beyond the death and ruins, remains marked by them (physical death, concrete, irreversible, non-metaphysical death, not mere subtraction of spiritual substance), " Giulio Ferroni, After the end. The condition posthumous literary , Einaudi, Torino 1996, p. 5.
5. Auden pointed out: "Some writers confuse authenticity, which should always aim at, with originality, for which one should never bother. There is a certain kind of person who is so dominated by the desire to be loved only for himself but must constantly test those around him with annoying behaviors, he says and does must be admired, not because is intrinsically worthy of admiration, but because it is his observation, his gesture. This does not explain quite a lot of avant-garde art? "Writing," in WH Auden, The Dyer's Hand , Vintage, New York 1989, p. 19.
6. Act Feb. 8, 1948, No 47, "Provisions on the press." In particular, Article 3 defines the role of managing director, while Article 5 paragraph 3, in relation to documents filed with the clerk of the court, reads: "a document showing the entry in the register of journalists, in cases where this is required by the laws on employment ". See Penal Code, Code of Criminal Procedure, read with complementary , Giuffrè, Milano 1992, pp. 1589-1594.
7. Ted Hughes, Thought-Fox and Other Poems , Mondadori, Milan 1973, trans. Camillo Pennati. This is a selection of poems taken from the first four collections of verse, Hughes ranging from 1957 to 1970, all published in the United Kingdom London publisher Faber & Faber: The Hawk in the Rain (1957), Lupercalia (1960), Wodwo (1967) and Crow (1970). Since the early nineties they expect the new translations of some of the most recent harvest, the which, for unknown reasons, are retained by Mondadori. See Unit 2, Monday November 11, 1996, p.6.
8. See Unit 2, Monday June 12, 1995, pp. 6-7 .
9. See, as an example in Anglo-Saxon for a way to present more pronounced in a newspaper a poem inspired by a true story, a bombardment of the Gulf War of 1991, the long poem by Tony Harrison "A Cold Coming "appeared in The Guardian March 18, 1991. See also Massimo Bacigalupo , (ed.), "A cold coming ', in Poetry No 99 a. IX, Crocetti, Milano 1996, pp. 2-13; Tony Harrison, 'V' and other poems , Einaudi, Torino 1996. For contemporary poetry dedicated to the events closely in place, for example, see: "Bosnian couplets," John Smith in , Those who hope to get by John , Garzanti, Milano 1993, pp. 20-21, and "Stabat Mater" in Lenis Maria Grazia , The ambush immortal, Bastogi, Foggia 1995. The choice of John Smith is linked, rather than to Pasolini couplets and even more than the elegiac Carducci, those famous and Auden's lucky: cf. New Year Letter, in Wystan Hugh Auden , Collected Poems, Vintage, New York 1991, pp. 197-243 (first ed. English Wystan Hugh Auden , New Year Letter, Faber & Faber, London 1940).
10. " Charm (spell) is to carmen, song, and associations are the main spell with the music, the sound and rhythm. The indigenous word to spell is spell, which is related, albeit indirectly, to another meaning of spell in the sense to read letter by letter o suono per suono. Riddle (enigma) viene dalla stessa radice di read (leggere): infatti read a riddle (interpretare un indovinello) una volta era praticamente un verbo con un oggetto affine, come raccontare un racconto o cantare una canzone . E come le connessioni dell'incantesimo sono piú vicine alla musica, cosí l'enigma ha affinità pittoriche, in relazione a cifre, acrostici, rebus, poesia concreta e calligrammi, e con tutto ciò che pone l'enfasi sull'aspetto visivo della letteratura», «Charms and Riddles», in Northrop Frye , Spiritus Mundi , Indiana University Press, Bloomington and London 1976, pp. 123.
11. just think that the Second World War to 1975, the year of the awarding of a Nobel Montale, include at least twelve editions in English dedicated to his poetry, including, in addition to those of his friend Ghanshyam Singh, we note the Venetian edition: Eugenio Montale , Poems, published by Lantern, Bologna 1960, with translations by Robert Lowell, a study by Alfredo Rizzardi and a watercolor by Giorgio Morandi. For some aspects of contemporary poetry and last Montale, see the intervention of Alfonso Berardinelli "The boundaries of poetry," in AA. Vv. , The word found , Marsilio, Venice 1995, edited by Maria Ida Gaeta and Gabriella Sica, pp. 211-216.
12. See 'Tradition and the Individual Talent "and" Hamlet and His Problems, "in Thomas Stearns Eliot , The Sacred Wood, Methuen & Co., London 1920. With regard to the universality of its size and the intervention critical era as they were intended-to-Eliot is also useful to consult the essays' The Perfect Critic "and" Imperfect Critics ", collected in the same volume.
13. " Presence of silence", in Aa. Vv. , The word found , cit., Pp. 168-171.