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Simone Cattaneo su Yawp
Giorgio Anelli ha da poco pubblicato il saggio Simone Cattaneo. Di culto et orfico (Ladolfi, 2019): in questo testo si parla di Simone Cattaneo, poeta visionario, poeta del cielo, poeta suicida. Tra i suoi lavori, solo per citarne alcuni, ricordiamo: la raccolta poetica L’umana ferocia (Kolibris, 2017, di cui ci siamo occupati qui) e il romanzo Lettere da Novresch (Ladolfi, 2018). Andrea Temporelli che ha prefato L’umana ferocia, vede il passaggio di testimone tra lui e Cattaneo. Il nostro Paolo Pitorri ha scambiato quattro chiacchere con Anelli, ci ha detto che è stato emozionante, sentiva il peso poetico di Anelli da chilometri di distanza. Capite bene che non voleva solo parlare del saggio, ma volevo proprio passare del tempo, come si fa con gli amici.
YAWP: “Come hai conosciuto Cattaneo, so che di persona non lo hai mai incontrato, quindi puoi dirmi com’è nato questo amore per questo scrittore, poeta?”
GIORGIO ANELLI: “Simone Cattaneo in vita non l’ho mai conosciuto. Lui è salito in cielo quando ormai io non lo avevo ancora letto, l’ho conosciuto grazie alla testimonianza di un amico, un caro grande amico: Andrea Temporelli, che qualche anno fa al festival di Ladolfi a Borgo Manero ha tenuto una lezione su Cattaneo, e proprio lì ascoltavo per la prima volta parlare di questo poeta. La cosa affascinante e oltre a conoscere la sua vita, è stato anche il fatto che Andrea abbia letto un’unica poesia che poi mi ha instillato e che mi ha fatto crescere la curiosità. Poi da lì ho chiesto a Ladolfi e a Temporelli dove poter trovare i libri di Cattaneo, e nell’arco di pochi anni sono riuscito a leggerli. La scoperta mi ha affascinato come la poesia di Simone Cattaneo."
A fluid and happy writing characterizes the polymetric poem in free verses by Roberto Mosi, Orfeo in Fonte Santa, whether the poet touches accents of exquisite lyricism, or introduces narrative elements into the verses. Both, in fact, perfectly agglutinated, weave a classically posed framework, despite the modernity of the conception that supports it and of the medium-high tone language, clearly communicative.
The Holy Source (which is found, as we read in the introduction, in a happy corner of the hills surrounding the city of Florence) constitutes the inspirational center around which the matter of song unravels; lemma, the latter, recurrent and used in the manner of the great epic authors of classicism, and linked to another that etymologically contains it, enchantment, meaning that poetry possesses a magical force that overcomes the flow of time, creating a parallel dimension in which everything not only saves itself, but reappropriates ontological integrity by discovering the links between high and low, visible and invisible.
https://www.vaticannews.va/it/podcast/rvi-programmi/i-grazie/i-grazie-24-07-2019.html#play
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Michela Zannarella on WikiPoesia
(by Maria Luisa Dezi, June 2019)
You have an impressive resume! But how did you get to poetry?
I came to poetry in an unusual way, I would say unexpected. I started writing after surviving a tragic car accident. I had never written poetry before, although I have always been a good book reader. Thirteen years have passed since my first publication. "Credo" was released in 2006. Since then I have never stopped writing in verse. I realize that poetry has given me great satisfaction over time, I think I still have a lot to learn. You never stop growing and as I am, I always need new stimuli. My poetry is aimless.
What is poetry for you?
Poetry is the ideal dimension in which I am comfortable with myself and reach a balance with time, the cosmos and things. I consider it a unique and rare gift, as is life. Everything around me can become a source of inspiration: a dawn, a blade of grass, a falling leaf. Poetry is everywhere. It is enough to know how to recognize it.
They called you the poet of images and feelings. How is your poem born?
Images are essential. For me poetry must feed on visions, perceptions, intuitions, sounds, silences. The five senses must also manifest. I have no precise rules for writing a poem. When I feel that I have to stop and stare at something on the paper, then I let the words guide me. I often write in pen in a notebook. Then I copy to the computer. It is as if I underwent a transformation. I must be in complete solitude, in silence, with no one around, in an "uncontaminated" dimension.
Besides the look, we need to jump; the radiant unreasonable, the wild turbine of the diviner, not the map of the geologist of the verses, certainly, of the philologist, philanthropist of literature. Giorgio Anelli's book, which is a poet in the essential substance, is out of time, out of the norm, anomalous, moving, odd, excessive, unsuitable, necessary. A stealthy stabbing knife with a gold blade. I mean, the book by Giorgio Anelli dedicated to Simone Cattaneo. Of cult and Orphic (Giuliano Ladolfi Editore, 2019). A book, I say, that does not try the intellect but asks for an unconditional adhesion, written in a brotherhood, ten years after the death of Cattaneo, which precedes biology: it concerns the way in which Rimbaud shakes hands with Baudelaire and Verlaine throws into the empyrean the blue-blond god; the pity with which Hawthorne, in a sand dune in the suburbs of Liverpool, in front of the brutal gray sea, touches Melville's shoulder and worries about it; Beckett's icy jargon on the face of the rhetoricians: the Nobel had to be given to Joyce. Recognition, recognition, kneeling. Giorgio Anelli makes Cattaneo the zenith of the "new" Italian poetry, the capital experience. His pamphlet - written as Dino Campana could write by Walt Whitman - has the violence of a call, is not devoid of sulphurous agnitions (on the Skies of Cattaneo, for example: "The poetry of Simone Cattaneo is full of skies. Skies desired, "Maybe. Skies evoked in the name of what? Skies devoid of hope, to which impose gatherings of rain. Everything, in return, is turned to the earth. The poet almost always looks down on the sky, without finding the graft between earth and sky "There are no mysteries, only feelings sometimes of warm air playing. The sky is his obsession"). This book has a grave and crude grace, which is neither exegesis nor homage: agitation, rather, mystical manual, rule of life. To Giorgio Anelli, in another context, I write, "being present, we need not present or be present". I would say this, by Simone Cattaneo - his presence is such, it is so superabundant, to remember the memory, even the attempt. (D.B.)