Assignment of the fifth: the benefits for employees and pensioners

The fifth assignment is a type of personal loan reserved for employees (public, state, parapublic and private) and pensioners up to 89 years on maturity.

Credem Banca

To distinguish the loan with the assignment of the fifth from other forms of financing:

The particular repayment method, which provides for the direct involvement of the employer, or of the pension institution, in the payment to the Bank providing salary / pension shares withheld monthly to the client.

The Client, or Transferor, is the person who chooses to transfer a portion of his salary or pension to a maximum of one fifth (20% of the net salary or pension) in order to obtain financing.

The transferee is the lender of the transaction, in this case , which provides the loan to the customer. Finally, the debtor is the employer or the pension institution, which can not oppose – except in rare cases established by law – to the request for transfer of the fifth , as a right recognized to employees and retirees by specific legislation. The debtors can therefore be:

  • Public entities;
  • State Administrations;
  • Para-public / municipal companies (in this case, as part of the transfer of the fifth, the treatment of employees of parapublic companies will be assimilated to that of public employees);
  • Private companies;
  • Pension / social security institutions.

The company, or the pension institution, provides monthly withholding on the paycheck or pension slip, and payment of the installment to the bank by bank transfer to a dedicated account. DPR 180/50 which sets the relevant directives. The DPR also dictates the rules for the maximum ceiling of the installment that can be applied.

The procedure for requesting the assignment of the Fifth is as follows:

  1. The request for the transfer of the fifth takes place at the Rome office. This is the institution that makes the calculation directly and certifies the maximum maximum amount of the installment that must be paid monthly, accompanied by the last two coupons of the pension.
  2. The request for approval with the signing of contracts and the notification of documentation.
  3. Release of the Acting Document by the institution, in this case the institution certifies having taken charge of the loan.
  4. Payment of the loan by bank transfer or bank draft.
  • Employee loans
  • Sale of the Fifth of the Salary
  • Assignment of the fifth to INPDAP retirees
  • Sale of the fifth legislation
  • Practical Guide to the Cession of the Fifth
  • Sale of the Fifth Railways
  • Sale of the Fifth Avenue

Giorgio Galli & Luigia Sorrentino

Hyperion, the fall


Hyperion is one of the most intense sections of the poem Olimpia , by Luigia Sorrentino .

( Interlinea Editions, 2013 , Recours au Pòeme Editeurs, 2015, Translation in French by Angèle Paoli with text opposite), composed of six choirs and a prose final entitled Il confine . Already we had focused on the “us” of Olimpia, on the ethos panumano expressed in its aesthetic civilization, on its being a chorus of tragedy. Now this polarity becomes explicit. The reference to the work (and not only) of Friedrich Hölderlin is also explicit. In fact, Hyperion develops a discourse on creation and harmony, but also on knowledge and how it relates to innocence. A speech dear to the German poet.

Reading of Luigia Sorrentino from Olimpia, “Hyperion, La caduta”

The Choir I begins on a gnomic tone: the semantic density is very high, intricate as a mangrove forest; but the more the assertion becomes obscure, the tone of the assertion becomes more definitive:

everything was on her
and she supported all that weight
and the weight was his sons
creatures that were not yet
come to the world
she was there below and inside

“Everything was on her”: the weight of knowledge and that of creation, and above all the weight of having to draw harmony. “The weight was her children”: children should not be taken literally, they are life created, creative and life-giving act par excellence. “She was there below and inside”: creation is born of sinking, suffering, it is something that crushes the human being and from which we must allow ourselves to be crushed if we want to create. Wittgenstein wrote in the Diaries that ” genius is talent more courage “. [1] We must have the courage to accept the challenge of being a creator until the last consequences .

this penalty still crossed her
when something failed

” Come less “: a verb that will take more and more body in the continuation of the work. It seems that poetry has to do with a decline in life, that it is a dying, a return to the origin, but also a gift – a shipwreck from which it lands on a different land. And the words of Cioran return to the mind, in the Summary of decomposition , on the human personality of the poet who is the very negation of life.

The Choir II is worth reporting it in full :

there is an archaic night in each of us
one night from which we come
a night full of amazement
that lost identity of the wounded
you populate faces,
that deadly embrace

in a time suspended between mind and heart
never was the night so starry

thrown into the sea they swallowed water
and stones, crawled on the sand
and they were in total disagreement
they had heavy steps
and disappeared, underground

the sign dissolves
by itself the fragile human falls
ephemeral fruit of the mortal

Here is an exemplary definition of waiting: “A time suspended between mind and heart”. Again, time is a place, but it has not lost all physicality: it appears completely internalized. The “archaic night” is the condition of primitive man, of the child, but also of the sensitive poet. It is only by the grace of the archaic night that the wound regains his face. It is a description – almost physical – of Zanzotto’s sentence on poetry “eternal rehabilitation from a trauma ignored by nature”. This waiting space-time is impregnated with omens, signs: “the night was never so starry”. And it can not be otherwise because in this dark limbo the sensitivity of the poet regains full right of citizenship. The penultimate stanza brings us back to the figures of the castaways, to the painful struggle between powerful and opposing forces: the chaos from which the Harmony arises.
The Coro III speaks to us of a prenatal stage, where the indistinct (the potential) is “immense” and “unrealized”. There is still no light, but the indistinct is different from the darkness: it is “not light”. Then

he turned the night turned
in need of us who opened up
the look at the raised form

 Beautiful and rilkiano is the verse “turned the night turned”. And Rilkiani is also the insistence on the vision, and the attribution to the night the request to be cleared. In a verse later it is said that only the gesture sees. The gesture, therefore (this is also a Rilkian concept) creates its space and its time: it is another deictic creator. The emphasis placed on the deictics in the earliest verses of L’antro results, a posteriori, a penetrating prolepsis, a structural element of the poem.

The IV Choir is existence that tries to continue to exist, it is pure vital force. But intuition and knowledge manage to win, to channel this force. Who is this transformation doing? There is no doubt: it is Hyperion. The next Coro V is a song of Werden , of mutare, which also takes the form of “vanish” (and it is legitimate to think of another Hölderlinian figure, that of Empedocle).
Back an opposition we had warned throughout Olympia. He is the cosmos, the whole, the Werden, the wind; She is “cleanness”, and it is before this neatness that Iperione lets himself fall.
It is simplistic to make an equation of the He-Hyperion type, Ella-Diotima. But at the beginning of Coro VI it is difficult to avoid the suggestion of Diotima’s death.

we lost everything
fallen into an eternal
the first light on us
fiery burned everything

But then the poem takes on the task of reminding us of a more complex truth:

the first creature of human
beauty is dead, unknown
to herself
peoples belong to the city
who loves them
devoid of this love every state
skeleton and annera
imperfect nature can not stand

Here there is not only the cry for an individual death: here is the sense of the whole fall of Hyperion: there is the contact of the poet with the history that burns and that leads him to defeat in action (think of another poem by Hölderlin, the Ode to Napoleon). And there is the thought of Hölderlin on the polis (which is derived from Hyperion and Empedocles): the warning against a mechanical society (mechanics in the Simmelian sense of society made of mechanical relations between its individual members) as opposed to the sense of belonging of a community founded on the common search for harmony, on the willing sharing of this effort.

The final prose brings us back to where we were before the dramatic Dream. We are at the border again, but we are no longer the same. The Dream and the Fall have changed us. The image of the mutilated statue is back, but this time it is an animated statue that moves: a slightly Savinian image. The voice he writes sees Olimpia “dying and mutated”. Dying and changing, we remember, are parts of the fulfillment, but the fulfillment will be achieved with the conclusion of the poem.

Lawrence Ferlinghetti, A Coney Island of the mind

Disconcerting, iconoclastic, desecrating and melancholic, Lawrence Ferlinghetti outlines the cornerstones of his poetics in forty-nine poems collected in ” A Coney Island of the Mind ” (1958), acme of his production.

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Ferlinghetti takes his readers by the hand, as if they were children-adults who have lost the sense of the most authentic reality: promptly accompanies them in a sort of sightseeing in the streets of San Francisco, a city that becomes a symbol of what is the US capitalist and consumerist “welfare society”. Off and lively, from neon lights to skyscrapers, San Francisco displays billboards aimed at a mass audience. Even in a serene place like Golden Gate Park lurks a “frightful depression”. The author makes the city and its (not empathetic) citizens a circus, a grotesque cabaret, synecdoche of the entire North American state. Instead, his craft and spontaneous poet’s craft identifies him with that of an acrobat who has the task of guessing the truth, before he can reach Beauty, advancing poised on the cutting edge of his audience. Ferlinghetti says he has “never laid down with beauty” in his life, but “to have gone there in bed” generating his poems. On a panic background, immersed in nature that the author imagines as a Paradise, unlike Dante, “in which people would be naked / […] / because it wants to be / a portrait of the souls / but without angels apprehensive to tell them / of how the kingdom of heaven is / the perfect portrait of / a monarchy “. The poems of the Ultimate of the Beat build, as the author himself says, “a Coney Island of the mind”, “a circus of the soul”.


In the balance, therefore, in the playful space of lights and shadows that animate it, the poet affirms that “even if our fields were roads” his dreams are intact in the basement of his memory; that is, in his childhood lived in a world that is still the one illustrated “in the major scenes of Goya”, scenes rich in “children and bayonets”. The world in which Jesus was “hung up on His Wood” is no different from the contemporary one in which “Christ is dismounted / His Wood naked / this year / and has escaped to a place where / there were no trees Christmas without roots “. The world that denounces Ferlinghetti is a world where racial segregation still exists . The only element that has changed coincides only with the landscape, consisting of “motorways with fifty lanes / on a continent of concrete / punctuated by mellifluous advertising posters / that illustrate idiots illusions of happiness”. And again, “the scene shows fewer carts than those condemned to death / but more citizens break out / in painted cars / […] who devour America”. In addition to the various rhymes and alliterations, in addition to a nuance of symbolism (inherited from the reading of Apollinaire and Verlaine), more than anything stands out a syncopated form, an arrangement of broken phrases, in swing, almost to depict the thread and the trend of the poet-acrobat. However, one gets the impression that in Ferlinghetti both content prevails over form, due to both the language and some everyday situations. Yet, it never expires in banality. The poet is a determined “super-realist” in constant expectation of a “renaissance of amazement” that should occur thanks to the visual and auditory force of the poetry conveyed by the word. Ferlinghetti, as a poet, wants to change the world, simply because he is convinced he can do it and that all the poets are capable of it. He wants to offer his readers new eyes. He first imposes his point of view on the reader, sagaciously, undressing, to wear the perspective of a dog that “trots” on the streets of a San Francisco made up of “men sandwiches and […] / dead sunflowers and live / politicating phones. tame with the party whips in / hand “performing” on the rings of their circuses “. Finally, after numerous quotations by authors such as Thomas, Yeats, Miller, Keats and Whitman, it turns out that for Ferlinghetti “this life is not a circus in which / the shy trained dogs of love / are watching / while time unravels / the his wily whip “. Therefore, Ferlinghetti, along with poets who think like him, will not remain to watch, but will always denounce all abuse and any form of censorship and coercion. With “A Coney Island of the mind”, but also with his later works, now sublimated in a single volume titled “Greatest Poems” (Mondadori, 2018), which makes the verse to the ‘greatest hits’ of pop / rock music, the anarchist Ferlinghetti aims to awaken everyone’s consciences. And for the most part those of the poets who lie dormant in their academic cradle. Thus, Ferlinghetti continues to wait, on the threshold of his hundred years, “that someone / really discovers the America / and […] / that the American Eagle / really unfolds the wings / and gets in the right way and flights straight ahead and that the Age of Ania / dies dead “.

Olimpia by Luigia Sorrentino

Milo De Angelis in the preface of “Olimpia” (Interlinea 2013), states: “Writing Olimpia , Luigia Sorrentino writes the book of her life.


Olimpia aims at the essence, deeply touches the great questions of origin and death, of the human and the sacred, of our encounter with the millennia.

It has a long-sighted look: broad, perspective, eagle-like gaze. But it also has sudden thrusts in the flame of the verse. “[…] And adds: […]” The times intertwine, they enter into an epic where everything is so ours as to become remote, everything is so lost as to become present. Olimpia manages to express this absolute time, and does so in a wonderful way, with powerful architectures but also with the flashes of lightning true poetry. Absolute time that contains all time. ” A work of maturity, implies the poet writing:” Olimpia points to the essence, deeply touches the great origins of life and death. “

Who is Olimpia for you?


” Olimpia” is the meeting with a place, with a feminine essence, with a city, with a condition, the human condition . In the book there is nothing left of the city, perhaps there is no longer even the human, but only the reverberation of a voice that comes from afar. Everything is irretrievably gone, razed to the ground, perhaps for this reason De Angelis writes that ” Olimpia ” expresses an absolute time, that is a time that contains every time . Everything has already happened, it is behind us, but also before us, enclosed in a circular space. Poetry is there, in a living essence, clear, pulsating, it is a voice that calls its children to itself and increases them, “in all that we have been” and making this journey back in time, touches the great origins of life and death.
“Olimpia” – I told Maurizio Cucchi and you, in 2011, while I was writing the book – it is not a book on the sacred. However, it is as if a sacred element were slightly touched throughout the book’s path. “Olimpia” is not a book on myth, as I have told you several times, it is a book that casually meets the myth, it is like crossed. Evidently our culture, our formation, is intertwined with the myth, touches the sacred element and enters the place of poetry, in the psychic space in an emotional substance that preserves and cares. ” Olimpia ” tells us that we are the place of life and death.

Mario Benedetti in the post defines Olimpia above all “a journey in dying”, a journey made by crossing a city moved, in a vision at the limit of consciousness. And actually it really seems like it is. The language of “Olimpia” leads the reader, on a border territory, between being and not being anymore.

The border territory in Olympia is language. On the one hand the language that speaks Olimpia has just burst into my life, on the other there is in me the awareness that I could not emotionally hold another language, a different language from the one that came out in writing this book. Olimpia could not speak the everyday language, that of the market, of the shopping center, of Ikea or the language we use at work. Mario Benedetti explains it well in the afterword when he writes that the space in which this poem moves is “a last stage of consciousness”. It is just a last time to speak, and therefore language also seems to be at some distance from the present. At this last stage the intensity of life is gathered together, and there the existential condition reaches the extreme condition, like at the point of death. Olimpia expresses one last time , in a language that preserves the echo of the tragedy. Nothing happens on the scene, everything is put back to the emotionality of the person who narrates, to the behavior and the measure of narrating. In this sense Olimpia speaks the language of the fathers, and does so starting from a limit and to put a limit . It takes distance from the present, but remarks in this distance, even the need to detach itself from a greedy and unscrupulous time, our time. The whole of the twentieth century speaks of a betrayal , and Olimpia tries to repair the wrong immediately. Olimpia recalls in the notion of betrayal certainly one of the most dramatic events of the twentieth century: the Shoah, the Catastrophe, the greatest tragedy perpetrated in the West, but also the birth of the tragedy told by Aeschylus, for example, in “I sette contro Tebe”. There is a moment in the book, in which it is said that Olimpia puts the mouth of the god and asks: “Why did you do this”? In this sense, Olimpia speaks the only language that could speak, reflects on the human condition, on guilt, betrayal, and asks for silence, reflection. Olimpia asks for a reconstitution of the being, around the sacred self. Olimpia accepts death – the end of time – and recognizes that the human condition is closed in brevity. The reflection on this theme comes from a woman, old and young, at the same time. A woman aged next to the rock, but who sees the girl turned to her, and is grateful to this girl who hugs her on the edge of life. Olimpia renounces everything, power, wealth, well-being … is aware that the human being is only an apparition in the dimension of time … Olimpia poses a continuous opposition … and there is always something that contrasts the truth that wants to be established.

With Olimpia you take us, as you did with Birth, only birth (Manni 2003), on a border, in a border territory, between being and not being anymore. Is this the meaning of the recurring symbolism of the threshold, of the transit to an open door on the unknown?

Yes, there is continuity of discourse between the two works, but with La Nascita, only the birth the poetic discourse was still in the time of life . In Olympia there is precisely dying , as an ineluctable condition of the human being. The whole book is crossed by contrast, by opposites that are opposed on the threshold of a boundary between finite and infinite. In Olympia then, we are, in another space, in another time, or even, we have left the time, we are in an absolute space, in the continuous demarcation between being and not being anymore. Olimpia continually poses the problematic and the contrast between the mobile and immobile being, between the human-transitory being and the perpetuity of the divine. In the section The permanence, the distance from the limit the permanence is represented by an immobile femininity as it happens in the Greek statuary. That fixity is the very essence of the divine: eternal and immobile. But there is, however, a movement that takes place, and there is the god who goes towards the man or the man who goes towards the god. Perhaps they meet, but on an extreme border. Therefore, Olimpia touches the sphere of the sacred in the perennial contraposition between what the human being is – what has been – and what can never be – immortal – if not in a poetic, religious and spiritual dimension.
The symbology of the threshold then, has different connotations, as well as the question that occurs in the poem The contrast between the divine and the time : “Is that the door ?”. Is the door an exit from life and time, or is it an entry into time? In the poem the question is almost obsessively posed, and perhaps for this reason it assumes an enigmatic and mysterious character … so, in the end, it is not known where that door leads. It probably leads to a new dimension. Certainly it too represents a limit, a threshold, a passage. In any case, the door is an element of transit , the crossing or the overcoming of the limit, from life to death to the unknown of the “after”. In some other parts of the book the threshold indicates, instead, a condition of expectation, or of preparation for a movement, a passage. Standing on the threshold, or traveling through it, can mean going towards the unknown or the infinite. Going over the threshold and overcoming the limit means entering a new dimension, going to see what’s on the other side. But sometimes the human being stands on the wind-beaten threshold, and swings, unable to continue, to let himself go to another unnamed place , in fact. The threshold on which the mercurial divinity that “leaflessly flips through the trees” stops, marks the boundary between what is human and what is human is not, therefore always the dimension of the threshold opens up the unknown, life, death, the exit of the scene, but also the entrance on the scene. However, the threshold is the limit-place, it is a boundary and the threshold, the boundary, the limit, are all faces of the same reality.

The path that Olimpia begins begins in a place called antrum. Why does it start right from a cave, from a cracked mountain?

The cosmic antro – place par excellence – is in a sacred space. It delimits our origin, but it is also the origin of poetry. It is the womb of the earth, of the mother. From that womb we all came out. The result is Hyperion, who tries to free himself from a state of privation, not light, engaging in a struggle with the gods. But it does not make it, it loses, it succumbs, it falls, placing itself in an area of ​​distance from the light. Olimpia is the poetry that stands in the dark background of an antrum. It is rock, root, cicada, voice, and then wind … Olimpia speaks through the wind. But its consistency is human, it is not divine, that’s why when it asks eternal life , it becomes a breath. Its essence will remain in the dimension of poetry that is eternal.

In Sleep, the journey taken within the city takes on a circular form. At the end of the book we return, as at the beginning, in a cave, in a cracked mountain. In the dimension that leads the reader towards the limit of earthly existence, the circle closes, one returns to the origin. What is the deeper meaning of this path?

  Sleep is the acceptance of dying, of being transient, in a certain sense, it is the ideal place to die, when one’s time is finished … The circular and unitary character of Olimpia reaches its maximum expansion in this section. Here in fact archaic returns, to the place of departure: the cave is the place of birth, but it is also the place in death. The moment of death – the exit of the scene – is a moment of absolute truth because it frees the mystery of all our human essence. One of the works that has most contaminated me is the Oedipus to Colonus of Sophocles. In that tragedy, Oedipus, before dying, takes full responsibility for his guilt: he married his mother, killed his father and brought into the world a sick stock, the Labdacids. When Oedipus discovers this, he begins to die and sets off in search of a place – the benevolent city – where he dies “in peace” to free himself from his terrible guilt. This section was also inspired by a news story, which took place in February 2011. Daniel Bisutti, the boy of twenty, who fled and disappeared immediately after causing a terrible car accident in Martinengo in the province of Bergamo. Daniel thought he had caused a massacre, but it was not. His sense of guilt had blinded him to such a point that he could not see anything else … to lose totally in touch with reality … Someone may remember that his lifeless body was found after ten days of incessant research, hidden in a ravine (cave) near a stream, curled up in a fetal position, as if it wanted to protect itself from cold or guilt. I always thought that Daniel had not overcome the enormous sense of guilt that had begun to afflict him from the moment of the accident. Daniel is one of us, a contemporary, but he is also like Oedipus: absorbed by guilt and blinded by it, he sought a place to escape from the cold , a natural, circular and maternal cavity, near a stream, to no longer feel that pain . Here, in a certain sense, the poem ” Sleep” closes the circle of life with a return to the mother, in the uterus and warm hollow of the earth, which carries with it an unconfessable secret: the abandonment of life, but also of guilt.

In a young mountain in the midst of the unknown there is a strong vital impulse towards the future. Here, for the first time, time is conjugated to the future. This momentum, however, is dampened by the sentence that is read in the prose of the new city: Olimpia joy of beings not experts in joy. How can there be a future in a community that completely ignores joy in its fullness?

In Young Mount in the midst of the unknown there is the approach to a new reality, “the unknown” of the young mountain is in fact a numinous reality, full of light, young, just born, and that still has no name, for this is unknown.
This new reality is the image of a new condition: new, human and divine. The young mountain is sacred in itself, is in a sacred place, and everything around him has subsided. This new place is filled by the religious space of poetry. The wait has been filled in the return, the return to a new time. In the finite time the infinite return condenses, it is a time in which, as in a circle, one closes earthly existence – we were all together – in a place where there are living and dead -. This new place is precisely the spirit of the future, where one is silent with joy. “He is silent about everything who possesses that spirit of the future over the ruins” I say in one verse. This verse also tells us that looking for this numinous nature is precisely a condition of the human being. Being together with this divinity that is within us, close to us, is being dumb, but soaked with joy, because here joy is just an expression of the interiority and awareness of the human being, who finally manages to stay inside himself, within one’s own nature, in the spirit of the future , in a new world that can be born of a new capacity to be, in a new measure: “weaves its divine human.”
Sprouts from the human, from the sleep of death, a new world, a new man, a new woman. There is therefore hope in the future: “You will be a new man, a new woman, you will be brother and sister”. Here is the meeting between human beings who recognize themselves in their individuality, who recognize themselves in a solitary space on the mountain, but powerful, like love. The true being together must spring from recollection “so spend the time that speaks to you” says another verse, speaking of this young man who is listening to the earth. In this rejuvenation of peoples there is the future, the time that will come, that will change us. The young mountain is just like a Titan, he too, like Hyperion, like the woman of the Permanence, is anchored to the earth, in absolute immobility, in an immovable and therefore sacred form. It is an original reality, what moves around him is time. It is tall, enduring and is part of the dimension on which earthly existence is determined. The young mountain is temporality (movement) is solid and lasting, it is the inspiration of the celestial. The image merges with the mother earth. The young mountain is also a new homeland. It emerges from the earth, from the depths of the earth, just like the poetry that sometimes emerges from the dream, from the wake.
The poem then closes with a praise, the praise of the rose. The praise of poetry, which supports the distant … It takes a great strength to support the distant, to be able to look without being moved more, in a vision of solidarity, of great awareness, and therefore of joy.

The art Irreductible – Poetry, by Luigia Sorrentino

Jean Dubuffet argued that for artists of Art brut, “imitation, contrary to what happens to intellectuals, has little or no importance;

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Why they extract everything (themes, choice of materials, means of transcription, rhythms, shapes, etc.) from their mind, and not from the stereotypes of classical or fashion art. Thus we are witnessing a pure, brute artistic operation, which the author reinvents in all phases and starts from the mere impulses “. Dubuffet was in fact the first Art brut collector – a 5000 piece treasure held at the Lausanne Museum. Several enlightened psychiatrists followed, who began to observe the creations of their patients with artistic attention.

The main collection is undoubtedly that of the Austrian physician Hans Prinzhorn, which brings together the work of over three hundred internees in various nosocomiums in Europe. The Prinzhorn collection influenced artists like Paul Klee and surrealists like Max Ernst. He would suggest those who wanted to overcome rational rigidity, leaving the unconscious to control the pictorial gesture.

Today the Art brut is merged in the ‘ Outside Art , which refers to all the artistic productions that are born at the edge of the official cultural system, to all those artists independent of the labels of criticism – a condition now common not only to those living with a disease mental. An art that reflects on the most precarious existential conditions and on social struggles through divergent visions.

The exhibition we are offering, L’art irreductible, curated by Mery Cuesta, takes place in the impressive setting of the former Barcelona prison of La Modelo and the Hagar Gaudí of Mataró.

The works of José Martín Melendes stand out, with winged and anthropomorphic characters, with a beak from which they seem to inoculate a whitish liquid in a jar, but also the works of Jean Budz: for example the great Sortie non indiquée of ’75 with the huge central figure composed of layers and layers of painted and folded paper up to give deformed and pulsating consistency to the meat. Also present are the paintings by the Catalan surrealist Àngel Planells, by Jaume Casanovas (with his lyric curtains from 2013) and by the famous Miquel Barceló: a remarkable self-portrait and a drawing of a spirited cow. There are also several anonymous artists, inquadrernati in nightmares of mouths from which come out hands or strange animals. Enigmatic marine scenes, actions of struggle and flights of men-fish, works that boast an humoral use of color, often reduced alpura pigment.

Among the few to deal with this type of research in Italy there are the gallery Isarte of Milan, the critic Francesco Porzio and Rizomi Arte of Parma.

Among the historicized Italian artists we distinguish two fundamental figures, although both disappeared in psychiatric hospitals and forgotten, authors such as Davide Mansueto Raggio and Claudio Costa – which is coming out a catalog raisonné of unpublished works for Edb Milan.

Art does not need the traps and categories of criticism, theories, paraphrases or reductive explanations. It can do without logic and perfectly communicate its concerns, with the peace of the academy, which often avant-gardes prefers the most algid and commercial operations.

How can one read a poem

Change the sense of nocturne in poetry and the way we look at the stars in everyday life.

biancamaria frabotta dinoignani

Night of memory

Put the uncomfortable witnesses to silence
extinguished the deeds and the survivors
to the loose, scattered banks
mountains of broken clothes, golden teeth, nibs
and scarves and shoes and more than a hundred brooches
as when the sky of stars is full …

Night of memory is a short poem appeared in The plant of bread (Mondadori, 2003) and then included in All the poems 1971-2017 (Mondadori, 2018) by Biancamaria Frabotta . Not all the poems of the book are titled, so the title, if present, has an important semantic value and not a simple identifying function. Night of memory is the opposite of Day of Memory . Why this title? Perhaps because, while we celebrate the Day of Memory, we actually live the Night of Memory . Night of memory is a poetry of testimonial concern: born from the forced silence of witnesses (a silence due to biological causes – the witnesses of the fields of annihilation will not live forever – or political and civil responsibilities, such as negationism or the crisis of historical consciousness in which the West is). This is not said. Let’s see how poetry behaves. Night of memory resumes one of the few points of intensity of Auschwitz by Salvatore Quasimodo (“and endless shadows of small shoes / and scarves of Jews: they are relics”) and turns it into an authorial abbreviation (paronomasia is a bit the “signature” of Frabotta): the paronomasia shoes / scarves is preceded by the paranoasia moved / stopped and followed by the parochial sparks / stars, moreover exposed in closed as a para-rhyme (with a relief certainly greater than the imperfect rhyme escaped : disseminated). It is not a manneristic quirk, like the gesture of the painter who retracts in his paintings, lending the face to a character perhaps secondary, the creation of a field of semantic tension. The title metaphor conveys an ethical content.

The forced silence of witnesses and the crisis of collective historical consciousness generate the night of memory. In the night of memory, however, objects take on a testimonial value: the deported pins shine like stars in the night of memory. After the disappearance of the witnesses, the light of the testimonies will remain. All this is said through an unforgettable image and an unmistakable rhythm: a requiem rhythm. The entire book, which also sings of “clear things”, such as conjugal love, is a requiem for the twentieth century, although composed in the form of a sonata, which, in the three sections from which it is formed, alternates with the The light head is the allegretto of the lullabies and the adagio de The springs of the Volga. Frabotta performs a series of rhythmic variations on the endecasyllable meter, in the typical ways of modern classicism. Night of memory opens with two perfect hendecasyllables, the first of which is slippery, almost to make phonetically the inconvenience of the witnesses; the third is an imperfect hendecasyllable, in which the accovimento of accents with respect to the traditional fourth or sixth position becomes almost an icon of the embankment of the banks; the fourth is an expanded hendecasyllable (“mountains of stopped clothes, golden teeth, | nibs”) through the excess of objects, with metric abnormity that becomes a sign of the abnormality of the extermination, whose “remains” are presented first in enumeration asindetica, franta, and then polisindetica, linked, as to collect and to fix in the final what the Nazis would have wanted to separate from the humanity of belonging. The penultimate hendecasyllable, obtained with monosyllables and bisyllables, beats gravely on things, according to a rhythmic and emotional intensification that prepares the imperfect endecasyllable and suspended cadence of the terminal nocturnal, whose harmony is broken, once and for all – one would say -, from the reflection of the testimonial objects. The same frequency of the sibilant, which constitutes the phonic Leitmotiv of the short text, becomes the formal equivalent of the hiss of suffering that, like a dissonance, cracks the going of the light head, its “superfluous and absolute” days of time “, and inclines towards the funeral dirge of the next section, his tragic allegretto, before the great, solemn final thrênoi, thus bringing out the true intonation of the book (and it would be interesting, even if it is not possible here, to reflect on the musical interpretation which in 2008 Guido Tagliacozzo gave this text). It has been said that the similarity between the pins and the stars changes the way we look at those objects. This would be enough to make a good poem of Night of Memory. But there’s more: the similarity between the brooches and the stars also changes the way we look at the firmament. Because, if from the fields of annihilation we turn our gaze to the heavenly vault, with those objects and similarity still in the eye, we not only see the deported pins shine like the stars, but we also see the stars shining like the deportation pins. Occasional memory becomes a permanent memory, because it becomes part of our daily life: Auschwitz can change the way we look at the starry sky above us, and, together, the moral disposition within us. Adorno went down in history for saying that writing a poem after Auschwitz would be an act of barbarism. Later, he corrected himself, saying that, in reality, after Auschwitz, the true impossible thing was a serene art. Night of memory is also an implicit response to Adorno: the nocturnal, of which the Western lyric from Sappho to Leopardi is full, are, in general, serene and above all timeless paintings. This poem historicizes the most timeless of tòpoi and transforms it into a framework of ethical tension. Change the sense of nocturne in poetry and the way we look at the stars in everyday life.

Birth, only birth

The verses of this extraordinary book by Luigia Sorrentino come alive like sound snaps.

They have the impetus and the ability to magnetize you in the pathos of an intimistic perception and not only, because they are the sign of a poetic maturity that captures the panorama and the inner emotional restlessness, to project them out of an exceptionally visual and olfactory memory , rippled by the becoming of things, almost to stop the private meaning and the reason for the painful involvement, to vivisect and decipher the transient, to chisel tones, variations and emotions that seal the temporal dimension always in progress: “we will be a bit / white near the sun / dust with other dust. ”
The birth, only the birth is a changing and articulated path of meditation, a lexical deflagration that seizes questions without answers, a testimony that deals with strong, changing reasons that run after each other in the daily stretch of our itinere, in a questioning and never pretentious way.
There are: life and death always fiercely “lurking” and referring to the latter: “death that I look / and hurts me / every syllable” and again: “// be blessed the water, the water that we will bring home / blessed water of the deluge “.

The sense of water as a symbolic element is perceived in a physical way, almost imprinted with the idea of ​​birth (or rebirth) that unpredictably accelerates the extraordinary agony of this book, which in its vital passage, in the primordial act of coming into the world seals the extreme limit. Ab origine , already presupposes the irreparable crash and decline, in which man deeply intercepts death, the drama of the event, his painful and laborious “motu”.

But it is also a passion for this poetic that, inside and outside the landscape, can give unrepeatable suggestions, showing the profound knowledge of the means of expression, the refinement and the linguistic stability of the rhetorical and metaphorical tool.

It does not show formal complacency: the compact lyrical corpus of great dignity knows how to adhere to the spirit of the world with disturbing presentiment.
Luigia Sorrentino knows how to enter in the Spirit and in the Reason of being, she knows how to catch glimpses, interpreting an elegy that honors her for her expressive refinement: “the silence of the rose, of the steady peace / in the elbow on the forehead of April / you were born in the house was supposed to be / last in a spring where we were / really alone / we wore the same blood / … / “(p.41)
The referent always appears as immanent death that slides on the things and the destinies of men, and makes them say: “without respite / evil is absolute / I can not help but pass through / without great expressions / … / I do not believe in my eyes for all this / perfection “(p.66), it uses just an obsolete meaning to indicate the violence of death over life. The internal bonds between one poem and another bend to regret, but not to passive resignation.

This is the work of full maturity, for the high quality of language, which reaches happily fulfilled results, even through a pessimism that is identified with absence and silence.
Yet, there is a background in the background that broadly highlights a glimpse of faith, a thought that stamps his poetry of an apparent absence, even coy, caressed, almost touched by a god that the author is quick to write in tiny, almost to underline the maieutic essence of great creator and destroyer: “around this elsewhere / since childhood // enter into something unknown / … / and the god that descends leaves them / enter, welcomes nourishment / the god mild (p.77).

Epigraphic as a solemn sentence this text:

“Here is the stone / and the pain / here is the woman and the body / in the cloth of Holland /../ here is the funeral of the green eyes / the acrid smell / the liturgical death wrapped / in the white satin” (pag .52).
There is a dignity even in the bleak and disrupted landscape of the events that are part of the section: The weight of the earth . A poetics that has the material presence of transience, the weight of condemnation, the idea of ​​a fierce and heavy exile in the earthly limbo, where we are called to question ourselves, to presage a second nature to metamorphosis. Moreover, the poet’s gaze succeeds in piercing the tragedy and the fragility of the existing making it the subject of singing: a song of incessant beauty, evocative and evocative architectures, which let Luigia Sorrentino sense as a cell of a microcosm, for the idea that permeates reason and instinct to relativity, such as to make it pronounce in the words: “from those arms we fell / from those arms we returned”, in the perennial cycle of the ontological ” perfection ” mentioned above.

Hyperion, the fall | Hipérion, the chute – Poetry, by Luigia Sorrentino Poesia

Originator of Naples, Luigia Sorrentino is poet and journalist. 


They are also a journalist whose conduct has been influenced by personalized interviews, such as Nobel Prize Orhan Pamuk, Derek Walcott and Seamus Heaney. Producteur de programs culturels radiophoniques, elle anime sur Rai Radio Uno émission Notti d’autore, «viaggio dans la vita et dans le opere dei protagonisti di nostro tempo».

Poet, he published a number of poetic books: There is a father (Manni, Lecce, 2003); The cathedral (Il ragazzo innocuo, Milano, 2008); L’assere del cuore (in Almanacco dello specchio, Mondadori, Milano, 2008); The birth, only the birth (Manni, Lecce, 2009).

She recently published, at the Editions Interlinea in Novare, collecting poetic Olimpia, predicted by Milo De Angelis and postfaced by Mario Benedetti. Given the preface to the listening, Milo De Angelis emphasizes the importance of the book that touches the essentiel, “addresses deeply the great questions of the origin and death, of the human is sacred, of Notre rentre with the millenniae. »From the poet Luigia Sorrentino, the souligne le regard visionnaire: a« broad, prospective, perspective of ail. »But also their” impersonal immersions in the flame of verse. »[…]

 Originally from Naples, Luigia Sorrentino and a poet and journalist. His work has been given to the journalist by interviewing illustrious people, such as the Nobel Prize Orhan Pamuk, Derek Walcott and Seamus Heaney, and the production of radio programs on his radio Radio Uno come “Autumn Night, Viaggio Nella Vita e Opere dei Protagonisti del our time “.

Poet, he has published several poetic stories: C’e un padre (Manni, Lecce, 2003) La catedral (The innocuous ragazzo, Milano, 2008) Assumi del cuore (in Almanacco dello Specchio, Mondadori, Milano, 2008) La Nascita, solo la Nascita (Manni, Lecce, 2009).

He has recently published the Novi Interlinea edition, the Olimpia poetic record , the preface by Milo De Angelis and Mario Benedetti post. In his preface to the book, Milo De Angelis evidences the importance of the “raccolta” which “deepens the great questions of the life and death, of the sacred and dell’umano, of our encounter with the millennium.” Of the poet Luigia Sorrentino, underlines the visionary defender : “Great, prospective, at the eagle’s flight. «Come and suoi tuffi iimprovvisi in the flame of the verse. Angèle Paoli

Conversations on Olimpia; at the Claudian Library of Milan

“Conversations on Olimpia” by Luigia Sorrentino

Thursday 6 June 2013 at 6:00 pm at the Libreria Claudiana by Samuele Bernardini, in Via Francesco Sforza 16 / A, Milan .

Introducing the “Conversations”, Chiara De Luca, Tommaso Di Dio and Fabrizio Fantoni, with: Nadia Agustoni, Mario Benedetti, Franco Buffoni, Luisa Cozzi, Milo De Angelis, Mario De Santis, Gabriela Fantato, Alessandra Frison, Vivian Lamarque, Franco Loi , Guido Oldani, Francesco Naples, Viviana Nicodemus, Giancarlo Pontiggia, Mariapia Quintavalla, Luciano Ragozzino, Ottavio Rossani, Isabella Vincentini, Nicola Vitale, Angela Urbano, Maria Di Lucia and many others .
Readings from Olimpia di Luigia Sorrentino.



Luigia Sorrentino was born in Naples. Professional journalist, lives in Rome and works in Rai. For several years he has been actively collaborating in Rai News 24’s cultural and television programs, making interviews with Italian and foreign authors of international caliber. She is currently the creator and host of programs for Rai Radio Uno, including the weekly “Notti d’autore, a journey into life and the works of the protagonists of our time”. Care for the site of Rai News 24 Poesia, by Luigia Sorrentino ( ), Rai’s first blog of poetry designed by her. He published the collections of poetry: There is a father (Manni, Lecce 2003), La cattedrale (The innocuous boy, Milan 2008), The axis of the heart (Almanac of the mirror, Mondadori, Milan 2008), Birth, only the birth (Manni, Lecce 2009).

“Writing Olimpia, Luigia Sorrentino writes the book of her life. Olimpia aims at the essence, deeply touches the great questions of origin and death, of the human and the sacred, of our encounter with the millennia. It has a long-sighted look: broad, perspective, eagle-like gaze. But he also has sudden thrusts in the flame of the verse. «Our gaze entered into his / infinitely deadly being». And the intertwining between the infinite and the deadly is one of the central reasons for this journey. Initiation path: we start from the cave of birth to reach full exposure of ourselves in the forces of the world, as a “young mountain in the midst of the unknown”. And in the end it comes back. “(Milo De Angelis)

“The poem by Luigia Sorrentino is centered on the city of Olympia: an ancient and new city, lived in the passing of time but in a non-unidirectional way, a city moved and not solid one could say, a journey especially in dying: but the writing plan and of the required reading appears that established by a contemplative conscience as the last stage of consciousness, the gaze on things takes place from a distance, taking up the phrase of Romano Guardini, in which “man lives outside of himself […] in another great life “, as Hölderlin writes, author of essential reference here” (Mario Benedetti)


An elegy to death

At the presentation in Milan of Olimpia , the poem by Luigia Sorrentino, at the Libreria Claudiana on 6 June 2013, there were the most prestigious exponents of contemporary Italian poetry.

Milo De Angelis, author of the preface, Mario Benedetti, author of the afterword, Giancarlo Pontiggia , Guido Oldani and of course the author, who read his verses alternating with the comments of Fabrizio Fantoni, Tommaso Di Dio, Chiara De Luca.

The guiding thread of the volume, as recalled by Fabrizio Fantoni in his introduction, is the crossing of a city in ruins, Olimpia in fact, where the wind brings with it the voices of past lives, in a still landscape. The itinerary starts from the antrum, a dark and primordial place, considered by the Ancients as a symbol of the intelligible world, as an expression of all the powers whose essence was hidden from the gaze. By recovering this meaning, the author has just entitled L’antro the opening passage of the poem, the place where the encounter with poetry takes place, which takes the form of a feminine essence.

The concrete images of the walls, of the columns, but also of the Mediterranean vegetation, are mixed in a vivid evocation made possible by a language very close to the sensitive and tangible reality. On the way we meet, as Milo De Angelis writes, the epochs of our life and the eras of a civilization, the Greek one that impregnates ours; «We meet the shadows of the bodies we have loved and then we meet, among the shadows, ourselves».

At our reading, Olimpia is an elegy to death , a heartfelt prayer for the peace of the returning dead. Let us take the lines from the title Deformation (of page 79), a fragment in prose: «More and more, dying. Floating in the emotional substance that preserves and cares, the memory of what we are disappears. The transition into live death causes disorientation. In a lump of extended forces, dismantling, displacement, inversion takes place. We return archaic, at the service of what we have been ». Let’s move on to death by living, forgetting what we are, and returning from the beyond, remembering what we have been. Or you can read the verses of closed to the threshold was that, which concludes L’antro (on page 30): “we are the one who goes / we have his legs / shoulders, the fast pace / the trace of the salute / we are the one who sinks / one step away from us. »Here the theme of the double appears clearer: the going and the coming, each of us and his double, each goes with the legs of the other, each other sinks to a step from us. Jean Cocteau, in the Orphée, had imagined that to enter the Hades the poet had to pass through the mirrors. I find in the intuition of Luigia Sorrentino this emotion of disturbing disenchantment between me and the other, I see myself from behind, that I see the other that I am.

But one could stop at the beginning of L’antro (on page 13): “she was there / it was not the same / the face bleached in the intangible / nothing more belonged / turned in another that l ‘he offended’. Again the reference to the double, of those who lose themselves while acquiring immateriality. The same call you see in the verses of the passage the walls were touched, (p.15): “/ the face that awaited him was there / his new deep face”.

The theme of return, iterated, fluctuating prevails over all, for example on p.18: “it is placed on the acanthus leaf / coming to us in its return”. Or on p.19: “because nobody has come to its end / before dying”. And then, p. 25: «the sun behind us cancels / our faces / we come from too much distance». P. 26: “the mountain / in that bottom of eternity / remained waiting for their shadow”. P. 28: “but there was nothing more happening / on the opposite side the mask / ascent on the mountain was shown”. The dead return to the world of the living in search of their name, Fr. 43: «we went back to where we were / only the name trembled». And finally, p. 29: «we are back to disappear / muddy the bottom».