marcin
(Marcin)
#1
neoavantguarde, which he has subsequently
left behind, most decidedly in his narrative.
Here Nigro varies and dismantles idioms,
trying his hand at a variegated historical
material. Both the way words are written
down and the use of dialect in Nigro take on
the task of signifying a damaged and almost
indefensible reality, assaulted first by the
ethnocide of emigration and then by
corrosive consumerism. Therefore Nigro’s
dialect is neither memorial nor regressive, it
is not a descent into a protohistorical or
mythical-childlike world, but it is a living
fragment, residual cry, a uniting language in
the struggle for the new development of the
South. In the preface, Leonardo Mancino
defined these poems: “fresh, readable and
passionate letters on the condition and
agony of words.” Protesting against the
overbearance of the languages of mass-