by: Messaggero Veneto - July 5, 2009 page 09
section: CULTURE - SHOW
PAOLO Medeossi In the beginning there was a man who, tired of being alone, he dreamed of moving from their silence, the islanders where he was a child. The man, a poet, he tried to knock on all the houses of the village, a small nest protected by the nest was larger than the island. Unnecessarily. In the silence of the streets and squares he felt only the echo of his knocking. Then he realized that it was time to leave the island and his children years and courage to start with unfamiliar roads, if he wanted to break the circle that kept him a prisoner of that world of stones. Biagio Marin man was in a lyrical autobiographical tale (Tired of the usual / the man in Batu in the door ...) told him the condition of the poet in the degree of the early twentieth century while in fact trying to listen to those who opened the verses written in the dialect spoken by a tiny fishing community on an isolated island between sea and lagoon, little known in 1912 when he began the great adventure of poetry mariniana. In short, was just starting to go to discover its true brothers. Adventure became gradually over time in 94 years to life Biagio (died 1985) and even later, so absolutely amazing that his lyrics and his words are placed, like the leaves of a tree, anywhere in the most unlikely of cities, towns, districts unknown. In proposing these intuitions and these beautiful images related to Marin, in what he wrote and left us, is now Anna De Simone, who has edited the volume Fifty poems Biagio Marin, published Notebooks for Study Center dedicated to the poet Grado, in a series edited by Edda Serra. It was presented in recent days, exactly on June 29, the anniversary of the birth of Biagio out that this was celebrated with a natural intensity and surprising. Originally the book is its the idea of \u200b\u200bcompleting what was in the mind of the poet who had wanted to challenge the solitude, a destiny, a world to make way for her fragile, powerful and magical words, which always remained similar to those uttered by children. 'Other poets - says Anna De Simone - following in the footsteps of Marin, even unknowingly, in that they obey a silent muse, dressed in rags, they told, each in their own dialect, life, the world, themselves. I believe that the authors of the fifty fifty poems proposed in this anthology are just the little brothers who had long sought by Marin. Younger brothers, coming from different places, of which in many cases go to the beaches of the third millennium. " Si tratta, come spiega Edda Serra, di cinquanta voci che fanno coro per onorare Marin, voci di risposta oggi al suo canto e dialogo, ciascuno nella propria diversità, eppure coro compatto di voci scelte, a rappresentare cinquanta dialetti, cinquanta linguaggi poetici, cinquanta paesaggi, cinquanta piccole patrie, che sorprendono però nella loro unità. Un’unità fatta di fedeltà al poetare, di scelta coraggiosa, di cura amorosa e tenace della propria opera e del suo destino, che supera ogni narcisismo. Fra i cinquanta fratelli (e di ognuno è stata scelta una lirica), che rappresentano un po’ tutta l’Italia, tanti sono naturalmente i friulani, i bisiachi, i triestini, come Elio Bartolini, Luigi Bressan, Pierluigi Cappello, Ivan Jack, Nelva Di Monte, Amedeo Giacomini, Claudio Grisancich, Federico Tavan, Umberto Valentinis, Ida Vallerugo, Gian Mario Villalta, Leonardo Zanier. On each book offers a detailed section of notes to the anthology which eventually becomes a passionate look and reliable on the condition of dialect poetry in Italy (narrated by region) that, even if few know beyond the employees the work, is experiencing a particularly lively, as opposed to the apparent decline of poetry in general. Anna De Simone, of Sicilian origin, lives in Milan and always follows with great attention to our authors, mostly having studies and essays in particular, in addition to Marin, Virgil Giotto, Hat, and Tavan Vallerugo. In the text that opens his new book, after noting the tremendous efforts as a poet and a talent scout Amedeo Giacomini, who created the magazine tongues a key reference point for the whole movement of recent decades, highlights in terms very clear and definitive look great, writing: "That's poetry in Friuli in the late twentieth century is a phenomenon that is unprecedented and demands a discourse in itself: it has given us this land, the last part of the twentieth century, together with the Romagna , the largest number of poets of a high level. Many have noticed, few have dealt with it in depth ... The dialects are dying - All agree on this - but the Friulian language, in the variety and richness of its variants, had never previously known results as diverse and original, thanks to authors who have placed themselves firmly, awareness and sense of art municipalistiche dry out too much dialect poetry before Pasolini, for instance, and told with originality, without ever falling into the way, life ... Thus the threads of poetry have branched out in all directions along a country whose name evokes a very ancient past, and have created a more varied and rich tapestry that could not be. " "I am a gulf," Marin said one day to friends. And the anthology che gli è stata dedicata assomiglia proprio a un golfo dove si intrecciano sguardi, talenti, lampi, parole perdute e ritrovate, le “parole di legno” evocate da Ernesto Calzavara. Questa musicalissima teoria di voci, lingue e suoni è aperta da una breve lirica scritta da Novella Cantarutti, un inno bellissimo in friulano per Marin, poeta fatto di mare e vento, mâr e buera , «fermo sull’onda dell’eternità». In conclusione del viaggio ci sono alcuni versi di Biaseto, quelli dove dice che nulla è passato e tutto vive ed è presente. Ninte no’ xe passào / e duto vive e xe presente / un sielo solo levante e ponente / un solo sol m’ha iluminào.
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