marcin
(Marcin)
#1
they showed something “photographic” (as
did other works of his later on), it could not
be regarded as a sort of “sin” other than to
the eyes of Croce’s Esthetics.
Di Giacomo, putting his various natures
“on a burner,” utilizing a more and more
refined alchemy of language, tempered with
a semantic density consonant with the
varied linguistic experiments taking place in
contemporary Italy, was able to find a
personal voice, rare and authentic, that
never degenerated or festered into the open
boils taken from French literature (Zola or
Maupassant), ever more pervasive and
abundant. The Eighteenth Century no doubt
enters his world, not only with the
modulations of Metastasio, Zappi, Frugoni,
Lamberti, Meli, Martello, but also with the
energy of Giacomo Casanova, whom he
translated with masterful discernment and