marcin
(Marcin)
#1
the frequent digressions and subtlety of
reasoning, but in the end one realizes that
his theses are rooted not only in his
inveterate convictions, but above all in the
contentions always supported by strong
documentation. When he states that
“Neapolitan poetry, between the Nineteenth
and Twentieth centuries, is the center of all
Italian literature. Better still, it is the real,
representative Italian literature,”^2 he does
not commit an act of pride, but only
manifests a reality that any reader could
plainly see. In any case, in the study by
Mario Chiesa and Giovanni Tesio, “La poesia
del Novecento in dialetto,” [Twentieth-
Century Dialect Poetry] which introduces
the two volumes Le parole di legno
[Wooden Words]^3 , Consiglio’s statements
are accepted and amplified precisely because