In December 2018, Circles and Wrists by Costanza Lindi was published by Ladolfi Editore, which continued the thematic and stylistic discourse that began with Stasis Tuning (Kammer, December 2017).
Already in this collection appeared a horizontal path, linked to engraving (Stasis tuning is divided by matrix, prototype, printing, barbs, dry stamp, pose), which ended with a timbre that is not done, a writing that is not impressed.
A crisis of writing that starts from the awareness of the limits of the medium.
Writing cannot represent: if I write 'glass' I have not really put a glass in your hands - Costanza tells me with the candor of someone who has said something obvious, but which must be said to become aware of it.
Reality is "conceivable, unrepresentable" (from the author's note to Circles and wrists).
Hence the attention of Costanza for silence, for emptiness, for what happens while I am not writing, for what happens to things while we are not there.
In Accordatura della Stasi Costanza learns to wait, to the horizontal space adds the vertical of time, of the hourglass, learns to observe and observe.
From observing oneself to naming oneself, from observing naming.
Trying to pick up writing again, to get it out of the body, from feeling.
Thus in Circles and Wrists he appeals to yet another language.
Where the writing cannot reach, the imagin (action) must come and, the symbol, the sign.
A language made up of signs and symbols, of movements and gestures, of textures, to say what otherwise cannot be said.
"I swore to myself to write about everything" (p. 11)
"From a narrative that does not come out" (p. 12)
"I write because it does not coincide the same / vitiated anyway / in the design and in the sign" (p. 41)
"It is where there is no word / that I join / and return" (p. 44)
"I would not like to be silent / like you / but I can only write about it starting from the bottom" (p. 45)
The writing (or imagining) ego moves like a small Alice between the various dimensions, looking for a direction.
Here the spatial path becomes more scientific and geometric (from the adimensionality of the point to the fourth unrepresentable dimension of the hypersphere, passing through the straight line, through the two dimensions of the circumference - the pupil circle that observes - and the three of the sphere, in a continuous return of round shapes like the smoke circles of Brucaliffo).
The relationship with the you is just a gimmick between which to move for attempts to realize.
What passes from the body, from the feel of the hands, which try to draw what you can't write.
"News under the nails / hair that plant words on the shoulders" (p.14)
"In the shortage of stocks / in apnea I chewed hard candies" (p. 26)
"You came out early this morning / now I have more space / and I have no more arms" (p. 36)
"I drew the embrace / I colored its comfort" (p. 41)
"With the range of sight / trace vertical horizons" (p. 43)
The feeling is that this of Costanza is a path that is still open, a search that has not yet been completed, which will soon lead to other kinds of spaces.
Starting from the bottom:
*
È da qui che ti accarezzo
da questa sedia forse come la tua.
Faccio segni con le mani e le dita
a raccogliere ciò che
non è nel mio silenzio.
Nella mia stanza tu
non vuoi che dica nulla,
mi invade il vuoto circolare
di noi due immobili
smaniosi a distanza
della nostra arte
senza storie né scie
ma solo cerchi e polsi
e aria e pelle e silenzio.
*
Se esiste un profilo del silenzio
dalla fronte al mento
mi limitavo a tracciarlo con le dita,
annodarlo come elastico.
Nella penuria di consistenze
in apnea masticavo caramelle dure.
Attendo di essere annodata
dalla fronte al mento
proprio mentre attendo.
*
Che salti fuori dunque
il mio nome
da me.
Posso sbucciarmi
aprirmi come noce
per spogliarmi
della parola che ho dentro
e rivestirmi poi di
consistenze
che posso scrivere.
Chiudere il silenzio
che ne resta
che posso sopportare.
*
Forse le cose aspettano che le chiamiamo.
Forse ci osservano tra loro
tentando di dire
cosa senza gesto è cosa.
(da Cerchi e polsi, Costanza Lindi, Ladolfi Editore, 2018)