If Lucrezia Lombardo's poetry has so far been characterised by an intertwining of philosophical-existential reflection and the search for a language capable of exploring the dimension of human interiority, and her writing in verse untangles the most concrete representation of this, we can assert that, with Herbae surdae, we are in the presence of a locus as deeply investigated by the poetess as it has been transformed in the author's poetic oeuvre as a whole - both in terms of the formal and stylistic aspect, and of the strongly gnomic taste of her dictation.
Indeed, we do not consider it a mistake to assert that Aretina's research is realised in the study of the nuances of everyday life, not escaping even the tensions and contradictions of being.
However, what interests us most is to assure the reader that this last text seems to us to be a turning point in the author's personal poetics: in fact, Lombardo's poetry never shies away from the complexity of the world; on the contrary, the poet forces herself to face it with a lyrical facies that pushes the reader to reflect on the fragility of existence and the inevitability of the human condition (Carlo Ragliani).