marcin
(Marcin)
#1
the soul,” with a language totally free from
bookish schemes; Tonino Merletti (Pineto),
who in Allegrine (1986), even where he
seems not to wander very far from local
themes, is able to combine the freshness of
spoken speech with the subtlety of the well-
wrought text; Vittorio Monaco (Pettorano
sul Gizio), who from Castagne pazze [Crazy
Chestnuts], 1997 to La vie e ju viente [The
Road and the Wind], 1988 and Specie de
vierne, [Kind of Winter], 1989, with a
language dense with evocative vibrations, is
able to express man’s disorientation before
the erosion of our ancient values; Pietro
Civitareale (Vittorito), who in a small
collection, Come nu suonne [Like a Dream],
1984, displays a prodigious new voice, both
strong and graceful, if devoid of “rhymes
and even assonances”; Michele Ursini
(Guastamerolli), who, from Gente e cose de