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».