marcin
(Marcin)
#1
superficial psychological posture. But
Russo’s world is not just tied to what has
been described as his “Baroque surrealism,”
but spills over into many directions,
advancing a sort of claim over all that
concerned the maudit in the province, at
times with dark tones. He also employs
Ariosto’s type of irony, and harks back to
Pulci and Berni, going as far as the double
theatralization of narration”16. In many
respects he catches old and fresh aspects of
the Neapolitan spirit, which however
appears, from one book to the next, at times
pathetic and at times melodramatic, at times
humorous and at times festive, without ever
coming face to face with the burning core of
a feeling that smolders to the end and turns
to ashes so it can rise again and regenerate
itself, or vanish in the desert and live the
sense of emptiness, abandonment, anguish.