"[...] Andrea Fallani can be considered the true singer of youth, of that period which is volgarly and superficially considered the most beautiful, the most carefree, the happiest of existence. The poet, in fact, documents how within the current "liquid" society, characterized by the lack of certainties, perspectives and values to be anchored in the future project, the young man prefer "the rise of the moon" when the Sun "(p.8).
What is Fallani's poetic poisoning? In an exploration of many topical sites of Italian lyric tradition - as mentioned above - but with a brand of impatience and poetic will to overcome it to try to go to see the hidden face of the Moon, that is, what is hidden from the sun Of poetry commonly understood. Occasional poetry sometimes supported by a precise desire to last in the expressive search of emotions and dreams, sentimental ambitions and long lasting tendencies to look for the right correction of emotional power in the right word:
"Towards where. Where did he ride / the Kurdish fisher / while the moon lit up / the path of hurt trees / Armenian forests? // Towards where Alexandros looked with eyes / full of love and eros, over there, over the tents / vibrating at sunset, beyond Isso and Guagamela? // Where did they trample on the ground of blood / the ferocious hoofs of the horses / who mowed the enemies of Nineveh? // Perhaps right there, / between the Tigers and the Euphrates, / between deserts and hanging gardens, / where everything was born, / Cain returned only from the field / out of Babylon "(72).
<The beyond is the prospect that directs the poetic force of Fallani's verse - an overly unjustified and comprehensible but impossible to contrast in the pure testimony of its existence, something that must be brought to its extreme limit of knowledge. History is a succession of death and blood spilled, of horses stepping on a land ("this mature evil" - as Pascoli says) drenched with the blood of innocent men and victims of an inhuman destiny of war, the heroes who They are supposed to be in the legends of the past and the present are actually only Cain's emo at the dawn of humanity, life is a succession of "birth copulation and death," Eliot would say, yet poetry aims to go beyond this, In an attempt to redeem suffering pain and death. Too many responsibilities perhaps for Fallani's still young and too sensitive shoulders? Maybe. Yet the poet knows that this is his job.
"And I?. A glass keeps me from being swept / violent of the seasons. // Cantor of life, / I do not participate in the sumptuous banquet in my honor. // Worth to be the scribe / who snuff hands / with the clay of my age? // But meanwhile, let me dream: / do not wake me up "(p. 70).
The poet's dream (and dream) produces and realizes his aspiration to a further life: to stand apart, to keep away, to wait for better times, allow him to describe and circumscribe his present human as a continent still to explore and revive, Trying to turn his emotions and desires into stringent and engaging words. "Being the scribe of his time" does not represent the mission of the poet and the emptiness of that aspiration to the communication of his feelings that makes the moon the place of contemplation and refuses the too strong sunlight of the present. If poetry is "lunar," its calm shade and its soft light will allow the law and who writes it to stay over time, not to be overwhelmed by today and to realize that there are aspirations, sighs, thoughts, and vital gestures Which is still worth expressing despite the "madness of the day" (Derrida) that make it inadequate to the dream in which it consists (almost) exactly, the deep and secret truth of poetry. Choosing to be on the Moon's side, the poet stands up for the passion of thought and writing and seeks to express and put into play his absolute and all-embracing aspiration to be himself. Only this allows him to be understood and accepted by his readers. Fallani's book, then, sees this goal and confirms it works before secure lyrical happiness.
Francesco Sasso