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It is a book of silences, stories silences that speak louder than words, this collection of poems by Alexander Russo, full of moods more than Proust (might do think the title, A Lost Time), especially Pascoli.

A world that "returns as a fire never extinguished," through words that "a child / have made a man": you can want from a poem if it knows how to say what it means, or loyalty to a essential node, the heart of his being adults in the presence of the founding figures of their own moral system?

(Vincenzo Guarracino)

 

You can read also the

Review on L'Avvenire 23/03/2014


SlaviaLogoWhile the swallows were absent, from the roof down to flight a sparrow, he jumped into the nest, looked around, shook her wings and stuffed it inside; then she puts out her head and uttered a peep.

A new century is announced to the world that experienced the second industrial revolution, change quickly and, through the universal exhibition, celebrates the myth of modernity, of scientific and technological progress. In 1903 the dream of man to observe the sky his own world, who believes he has finally subdued, the myth of human flight, become a reality. Born even a new system of organization of work: Taylorism. Accordingly it comes the assembly and movement of man come to be marked by the speed of the machines. Technological progress makes machinery more and more perfect and for this reason requires the production of standardized objects to be replicated millions of times over: it is mass production, created by the working masses. The technological progress transforms the originality of the creation manufacturing craft into an industrial product and makes it forever only and only goods, the craft work is transformed into industrial work and this makes it, in turn, to always only and only goods.

 


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Giuseppe Carracchia was born in 1988 and grew up in Palazzolo Acreide. He studied in Bologna, Catania, where he graduated in Modern Literature with a thesis in Cultural Anthropology, and in Turin, where he obtained a degree in Italian Philology.

Among the books of poetry published

: ‘Il verbo infinito’ (Prova d’autore, 2010) e ‘La virtù del chiodo’ (L’arca Felice, 2011). The last one, ‘Prova del nove’, has been published by Giuliano Ladolfi Editore.

His lyrics are included in the anthology “Generazione entrante. Poeti nati negli Anni Ottanta” (Ibid., 2011) e in Post ‘900. Lirici e Narrativi (Ibid., 2015), and they've got some awards (including the prize Lerici Pea giovani, 2011).

ABSTRACTS

From: “Prova del nove” bi Giuseppe Carracchia, Giuliano Ladolfi Editore, 2015 (euro 15,00)

Dalla sezione PRESOCRATICA


Riscoperta dell’odio

 


farapoelogoOnly if you have a weight you can fly: on the large new collection of poetry Giuseppe Carracchia

review by AR
 
 
As Renato Serra and as suggested by the same Carracchia in the essay-afterword “Educare al silenzio. O Del cloroformio”, me too «… fantastico una critica che non sia soprattutto uno studio di opere, ma uno studio con opere» (p. 219).  I think a critical note has to be from a dive in the text you have in front, which a critic should "react" to the words of an author from their own experience, from their cultural background, in a word, from its anthropology, putting in comparison with the one suggested, evoked, overt or implicit in the work. The dialogue needs to create a voltage "balanced" (the author speaks of argillosità, cfr. p. 225) between two poles / contacts, otherwise it flattens or text or who interprets and is invalidated.
I'm not a critic, but when I write a few lines on the other try to stick to this approach, to listen and listen, pro-vocation work by putting into play precisely what evokes in me. This he can do, with great empathy and sensitivity, Vincenzo D'Alessio, for example, the poet and critic from the look clear and sharp: with humility, working the edges and a bit 'set back (as the author himself admits this collection of desire ), it provides always interpretations revealing.
La prova del nove It is an important book. For Carracchia marks the achievement of a maturity of expression articulated and dense that is not afraid to expose themselves (Augustinian, the "confession") even if he knows the pitfalls of published: «Più l’apparato mediatico obbliga alla presenza, fornendo trucco e parrucco, più si fa forte l’attrattiva, o necessità della latitanza» (ivi).

LogoCriticaLetteraria"Questo per dire quanto / resta di qua della pagina / e bussa e non può entrare, / e non deve". So, with this inscription-summa Magrelli Valerio, the reader is introduced cautiously in micro-poetic universe of Variances (Giuliano Ladolfi Editore, 2015); so, with an invitation, quietly but firmly, to move in an intelligent and discreet in these pages, respecting the gray areas and the boundaries of a poetic word that, far from the 'square from all sides shapeless our soul', to quote the Montale Ossi, "it is here" to show its limits and bruises of a fragility that is, after all, human too human.
The very choice of the author, Maurizio Giudice (Catania born in 1979), to look out at the landscape with a national poetic plaquette of only thirteen compositions, rather than the result of "a conception of poetry, close to Buddhist philosophy, as contemplative practice of emptiness the ENSO, the circle of symbolism zen, which circumscribes and overlook things, "writes Giuliano Ladolfi presentation, it seems modeled on an experience lived and suffered denouncing, at the end (or source) of all, a lack rending
: "
Ho chiamato tutti tranne quel numero, / è rimasto sulla punta delle dita, imperfetto. / L'ho composto cinque volte stasera, / era un modo per averla vicina. / Le costole, le clavicole, strappate ai tasti, sono qui, / in una parte infinitesimale della mani". 
  Experience, then. That certainly is rarefied by a very successful exercise in style of simplicity and subtraction of poetic diction, but with as much evidence can not ignore the real underlying dynamics in a meeting: here, dramatically, with"tuoi occhi vuoti / mentre parliamo d'altro", as it said in a text, spilling not meaningless the nomen entire work, titled Stay. In fact, when I give poetic 'voice' to this meeting, grammatically synthesized from a first person plural is always to strip gap is unbridgeable or precarious moments or years that reveals strangeness: "Calcoliamo il perimetro degli oggetti, / lontano dall'abitarli"; "Spenta l'ultima lampadina, restiamo / con le dita attaccate alla notte"; "Abbiamo attraversato vent'anni, / ma non sono serviti a renderci familiari". 
 

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