City Luciano biography Mazziotta
Area, 2009 ISBN 978-88-609-6532-5
"Imagine if the city were so, if there were
the cars waiting at traffic lights
, and if the stop block
alloy wheels and did nod
the beam. If the people were living
,
if there were lights on the walls and advertising [...]"
The theme of the city was developed and very often from many points of view in the history of literature but it is especially with the future that the polis becomes the icon of modernity overwhelming. Moreover, reading Luciano Mazziotta, we find the fun of internal rhymes, the irony with which Palazzeschi opposed the false myths of speed and progress ("The flight is a low cost whatever", "revived chat nickname by: / Lazarus "). But we also find Mayakovsky, his tragic faith in a technological future that can govern a globalized society with the utopia of being able to preserve the cultural identity of the individual. If cities (Berlin, Rome, Hamburg, Jerusalem, ...), they are a long lived, and place of birth or places of a precarious journey, "are more modern than the rivers accounted for Ungaretti. An identity card. Not just memories but apparently indecipherable signs through which man could recognize and improve. As if the city were the units of a way of being, to be alive. It is for this reason that the urban environment provides the ability to go beyond the private experience - its historical description - to be socio-political poetry, activist poetry, poetry-fledged calendar. Poetry, by tradition, speaks to its audience with a second person singular, because it hopes to give value to the experience of proximity and therefore urges the party to move and get in touch, asks him to act with conscience in the community for the good of the community. "I tell you to all those who love one another," wrote Prevert. But how to communicate? How to break down the walls? How to build new bridges? Cities are also from a linguistic point of a fight ("You know that nobody is listening"). As in Wenders's film, the city is language, a language that is defined by contrasts. So throughout this book, between rhetoric and everyday we come across much in the tic of a certain experiment to look Sanguineti as a more direct and conversational, to John Smith. In any case, despite all efforts, the city, as Calvin taught us, is a language that continually threatens to escape our interpretation to become self-sign. It is not a simple metaphor. In a climate of total disorientation of perception, the city's charm lies in the boundary between reality and the ability to "live together and confused, disillusioned / like two tired of caring for the sick, / in the uncertainty of their future, / can be sure of what we have to say." And it is a border that changes, that is never clean. Baudelaire writes: "The forms of change une ville plus lives that coer of a mortal." We just have to go on your way, then, even though the journey will look like a kind of impossible to chase those who are "too present for the future."
John Catalano
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