What makes you think Villalta says : There will be terrible opponents to the vocation and destiny of a poet as Cescon . In this sense I would say that nihilism is understood as a denial of a "real" world and " live " in the poem , it may be an extremist way of thinking , is not justified.
The work of Cescon , divided into eight sections, is unitary. The book is a cross-section of the newspaper , in its continuous unfolding . There is a family that is made up , which decorates the house with Ikea furniture , fitting , then , to live in "modules" pre-built "almost happy." And that "almost" that says it all is the lack of a resignation , as when Cescon writes: " The fridge is a steppe packs / are always there, even to forget / day due to expire ." There is resignation, discontent , in these words , a quiet renunciation, something is out of this microworld of things . Cescon seems to be " ambiguous" , not in a negative sense ; suggests an ego that tells , which is seen from the outside. It brings to mind "Life in verse " by John Smith , as if the author was looking for a partner , another self . The language search dell'osservarsi merciless clarity , the language is direct and agile , and poetry away from the act of poetry. A challenge or a change of course ? Why does not his poetry is the revelation , the word , sometimes raw, simplifies and amplifies a generational discomfort .
The verses seem to confirm the exclusion , and say , mercifully, that this is a poem that wants to exist in the future, and there must be reborn as a break with the previous generation : two solitudes different meet, to be more together on the front door house .
Roberto Cescon , the son of a generation of poets born in the late seventies , the bearer of a "new" generation takes his time , devoid of mystery, with a poem from anesthetized daily life.
Against the background of this work, seems to prevail over all , just the discomfort generational exclusion from their own time , there is a need to get the word of the poem in the " right " time to take charge, totally .
The apparent tranquility of the mean, shows the contradiction of this : nell'anonimia that this condition requires disappears, individual history , writing Cescon enters the story of all , telling any life , his life, and any life.
Reading Cescon the serious question we must ask is : which direction you are taking the poem in the new generations ? Why do you feel the effort to take on a renovation of the poem , to give the right direction to this "thing" we call poetry? Because maybe one direction the poem does not have it and can not be angry .
The poem is entitled " The avant-garde is over" makes us understand , clearly , what is the direction that takes Cescon : "It is time to destroy or escape, / we should be there beside / understand that the road is also what we have. "Poetry of the things it folds in on itself, relies on the fate of the word , aware of loneliness " to be more together on the front door . "
Roberto Cescon stating its historical distance garde group introduced by '63 , and leads us to a more questions , but where are the other poets born between the forties and fifties who also moved away from a political vision of poetry? These poets , we have had them of the ' fathers ' ? And those born in the sixties? They are children of a new way of making poetry , or simply orphans?
We must ask ourselves these questions and book Cescon lends itself to this reflection.
Il servomuto
Raccolgo il giorno nei gesti che sono
levare la camicia, piegare i pantaloni,
unico proposito di ordine.
Sui vestiti c’è il mio odore, fumo e pelle.
Rivedo le parole già dette
e quelle mancate.
Ora il servomuto ha la mia forma,
la sensazione di perdersi nel tempo
e non averne mai abbastanza.
Qualcosa resta sempre addosso
le domande per esempio ogni sera
che stisciano quando spengo la luce.
Tutta la vita a spogliarmi
mai veramente del tutto.
Luigia Sorrentino