marcin
(Marcin)
#1
and the slums, from the Vomero and San
Martino, from a play of the imagination that
belongs to men, to the landscape, to things,
but for this very reason (like Venetian)
balanced on the edge of a usura waiting to
make it flat and stale, a stereotype. This is
why Pignatelli is greeted with elation,
because, utilizing the whole Seventeenth,
Eighteenth and Nineteenth Century
tradition he can imbue it with a new vigor,
an inflection that comes from afar and
follows an ambiguous, multivalent path,
which is characteristic of the most recent
European poetry. De Mauro, in fact, makes
no bones about inserting Pignatelli among
the “great dialect poets of the Twentieth
Century”; he understands the full scope of
his importance, and the invitation is not
ignored by a poet and critic as observant as
Franco Loi who expresses his full agreement