The task of the poet is to give us his hand .

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Ολυμπία is the city that organized and where the Olympic Games took place.

Olympia was, however, also home to temples and theaters, a fact that testifies that it was also a place of worship and a certain cultural importance. The locus is, that is, at the same time a closed place, conclusus, but also open to welcoming those arriving from outside – as long as with a precise purpose -. Of course, Luigia Sorrentino is aware of this reality and seems to have approached it with determination and without insolence. From a first reading it is clear how the approach is cautious and represented in the form of ‘progress’, the advance towards, and through, real spaces: ‘L’antro’; ‘The lobby’; ‘The garden’; ‘The lake’. These places are crossed in a way, let’s say, horizontal, and then overcome the boundaries and then descend (‘The descent’). The path, thus, becomes vertical in the form of the fall, first of all witnessing a moment of decay, of analysis (even in the unconscious phase of sleep) and then a new push upwards in another, but always new, cognitive path collected in the metaphor of the ascent to the mountain: a story that fully reflects a topos experienced both by Dante in the mound of Purgatory, and by Petrarca in Mont Ventoux. In particular, it seems to me that Dante is the closest reference most likely to Sorrentino’s sensitivity. This reflection is supported by the analysis that can be done on the texts, where you notice how the language, stylistic choices, tend to a writing and formal choices more suited to certain stylistic (yet) aristocratic life of the nova: “with joy we think about the day | when in the light we can | go out to leave | what our spring | bind »(page 75). Such semantic lucidity, in my opinion, is given by the difference, the trauma, between the various signs. I use the term as Roland Barthes would do, that is to say, as in the texts of Olimpia, the contrast between language and word, signifier and meaning and, finally, between denotation and connotation is resolved just as it does to date – and still with so much splendor – in vitanoviano text. To convince me of my thesis are still two elements. The first is the choice of incorporating short prose texts into the book; and a second comes to me from a reflection that Milo de Angelis makes in his presentation of the volume, where he rightly speaks of the Life-Death relationship, and highlights the eschatological concept of “Salvation” (page 7). The book, therefore, has its own basic thesis which is fully expressed – and in “fresh clarity” (p.93) – in the arrival in a place that is physical, but also spiritual: “The new city”. This is the space of salvation, though limited by the “boundary of a horizon cut from a source of water” (page 99). Ultimately, the city of Sorrentino is not a utopia, a non-place. In reverse. It is the inner place where all of us are destined to travel for miles, to stumble, in an up and down that, ultimately, we call Life. To the poet, then, is up to the ancient and noble task, already entrusted to the angel when he accompanies Tobias: that is, to take us by the hand and guide us to the city, then return home and save those around us.