The "fragments" (as the title sounds) that make up this poetic collection by
Francisco Soriano are linked together by an incessant movement between space andtime and sinuously join up to form the formal aspect of a poem whose rhythm nowaccelerates , now, however, it decreases and slows down. The poems themselvesappear as "shards" (we recall that Catullus called his verses nugae, "nonsense"and Petrarch proprio fragmenta, "fragments" in the vernacular) collected along agait with picaresque appearances, an aimless gait that leads the poet to ajourney halfway between real and imaginary: "I collect the pieces. / I realize /they are poems" - we read in the first poem, which sounds almost like a preface.Those shards collected on the street, along the way, they are molded andreattached together as in an ancient reconstructed mosaic, emerged from dreamsand from an imaginary that could not be defined otherwise than resistant. It isfrom this imaginary that the shards emerge and the poet, like a charmerarchaeologist, almost like the witch doctor and magician Fellini who dreamilyrecalls the ancient world of Petronius' Satyricon in the cinema, stitches themtogether to create that little jewel that we readers have now. under the eyes: apoem, in fact, built only with lowercase letters (according to a style thatSoriano also uses for his suggestive interventions on "Carmilla online") thatmoves sinuously like a story that crosses inexorably, with its spirit at the sametime lifeless and combative, an imaginary concretion of spaces and times.The poem moves like the rhythm of a surf - an image that constantly returns - ina seascape that fluctuates ceaselessly in front of our eyes. And if in the imageof the surf and the movement of the sea there are Montalian and Capronian echoes,the weaving of the "shards" reveals its aspect of "shining stone", as the poetdefines time, and the movement of a dance, in another poem takes place "on theblade of a crystal". Because time is a crystal, as Gilles Deleuze writes, and onthe one hand it can be written "save!" and on the other "lost!". And in anapocalyptic landscape that too resembles our reality, between indescribablespaces and time crystals, the new nomads of contemporaneity move, the migrants,whose movements are almost transformed into epic deeds carved on the walls of anera that knows only the now and its meanness, forgetting arcane and mysteriouspast. This dance of time-crystal sculpts, as already mentioned, marine andMediterranean landscapes, mythological and made mysterious by the presence ofarcane lighthouses and sirens: "And if once upon a time it was majestic / thehope / of a promised land / undisputed joy: / here the sprout, / branches andarms / to spread sails, / to capture winds, / wild visions before dark, /incandescent outpost of tomorrow ". Beautiful landscapes, full of a mysteriouscharm, as we read in the poem n. 43 "wonderful those baroque blinding lights / ofthe south, among the white stones just smoothed / by the anvil of the sun" - butinexorably marked by death and pain probably. Poem n. 44 contrasts in fact withthose "wonderful southern baroque lights" the terrible image of immigrantsdrowned in the Sicilian channel, a tragedy that too often is repeated in themedia indifference that envelops the contemporary world. From that southernbeauty emerge the cries and voices of those who are dying and for us Westerners,by now, it is covered with innocent blood: "the putrid breath of the hypocritecrying in the infamy of / a television screen. / Submerged his hands / betweenreddish wings and petals swollen with death / they were eyes, / they wereeyelids, / they were the fingertips of women and men ". Faced with thesetragedies, the innocence of the past has been lost, even simply by reading, forexample, a classic such as the Aeneid:In the face of a time that flows continuously, immersed in a movement ofresistance to the predictable order of the here and now that we are all nailedto, even space can no longer be enveloped by halos of distant and obsoletefantasies. Even the space must be imbued with a new and unprecedented resistantimaginary: "and then the spaces. / In the voice / gardens without enchantment /skin and shell, / winter flowers, / nor tales of stupid principles. / Space isthis insomnia: / the dark weft, / dark, / the nocturnal warp of no-tomorrow, / oflife / punctuated by the raucous breath, / day and night ". Because, as Sorianohimself writes in a final note of the author (Final note of the author: poetry,this unknown), "it is desirable that the poem immerse itself in reality, decipherit and even fight strenuously". But to do this he certainly must not let himselfgo to arid and objective analyzes. It still remains poetry which, according tothe author, "is not subject to any form of commentary and autopsy". Poetry shouldtherefore recreate a resilient imaginary herald of new dreams that isnevertheless immersed in reality. Because it is only by acting in reality thatthe incessant movement of a new free and liberated imaginary can open up newforms of resistance and alternative universes, such as those that the poetry ofFrancisco Soriano offers us marvelously. Poetry should therefore recreate aresilient imaginary herald of new dreams that is nevertheless immersed inreality. Because it is only by acting in reality that the incessant movement of anew free and liberated imaginary can open up new forms of resistance andalternative universes, such as those that the poetry of Francisco Soriano offersus marvelously. Poetry should therefore recreate a resilient imaginary herald ofnew dreams that is nevertheless immersed in reality. Because it is only by actingin reality that the incessant movement of a new free and liberated imaginary canopen up new forms of resistance and alternative universes, such as those that thepoetry of Francisco Soriano offers us marvelously.---Taken from Il Cantiere n. September 10, 2022Libertarian Alternative / Federation of Anarchist CommunistsTo request a copy of the magazine, send an article or a comment you can write toilcantiere@autistici.orgIl Cantiere n. 10 Settembre 2022Alternativa Libertaria/Federazione dei Comunisti Anarchiciilcantiere@autistici.org_________________________________________A - I N F O S N E W S S E R V I C EBy, For, and About AnarchistsSend news reports to A-infos-en mailing listA-infos-en@ainfos.ca
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