Federica Saini Fasanotti's collection Della guerra is striking for the essentiality of its texts and style; it is like a cry, almost an intense expression devoid of words, but so dense with meaning that it explodes in the reader's intimacy.

It is an ethical choice rather than an aesthetic one, rooted not on the emotionality of the contemporary situation, but on family events that in the silence of generations have marked the poet and that resurface as a protest against human bestiality, which continues to pursue conflict, destruction and the death of its fellow human beings, instead of seeking peace, cooperation and mutual aid.