Wednesday, October 1, 2014 resume the literary concerts of the Liceo Classico “P. Giannone “di Caserta.
The formula already tested last year, with meetings with prestigious poets, essayists, scientists, introduced by short musical performances interpreted by high school students, has indeed met the favor of teachers and students.
During the summer, therefore, the calendar of appointments for the 2014-2015 school year has been worked on, which will see the succession of writers such as Marilena Lucente, journalists such as Pier Antonio Toma , the historical signature of the Republic, only to give some anticipation.
The first appointment (Wednesday, October 1, 2014, at 4.30 pm), favors poetry.
In the main hall of the classical high school Pietro Giannone (Corso Giannone, 96, Caserta) will intervene Luigia Sorrentino who will talk about his latest work of poetry, “Olimpia”, ed. Interlinea 2013, preface by Milo de Angelis, afterword by Mario Benedetti.
In addition to the author and the students, Mariastella Eisenberg and Daniela Borrelli will speak.
The meeting, which takes place in collaboration with the Feltrinelli bookshop in Caserta, is open to the public until places are sold out.
From the interview of Giovanni Agnoloni to Luigia Sorrentino
“Olimpia” by Luigia Sorrentino is an initiatory path, of reappropriation and reinterpretation of the classical lyric tradition and of the sapiential background of the Greek paideia. A poetic collection of considerable depth and intensity, Olimpia marks a point of arrival but also of passage and of “new access”, in the literary research of the author, already famous in Italy and also known on the international scene. His is an intimate journey, full of references and resonances, with a strong sapiential ascendancy. It touches the last questions of existence and is at the same time the world and the interior landscape:
without stems we were on the esplanade
transported here where one is silent with joy,
he keeps silent about everything he owns
that spirit of the future
above the ruins
The universe and the whole human condition seem to coincide, in a point of infinite power and unspeakable fragility. It is to this secret boundary line that the poetry of Luigia Sorrentino tends, whose experience of the world – as an excellent cultural journalist which is – is at least equal to her sensitivity, feminine certainly, but also, so to speak, sibylline, to the extent which seems to want to be used for messages coming from the Oltre :
now as a trunk the voice
infilza our hearts
and it increases them, in all that we are
in the middle of oaks and olive trees
in all that we have been
The result of a long and patient search for the “perfect word”, or better still the “perfect sound”, these verses seem to take us to a threshold, which will then be the task of each of us to cross, on their own and with their own times.
A passage from Giovanni Agnoloni’s interview with Luigia Sorrentino
1. Your poetry has an “initiatory” depth. Your inspiration – as the title of this collection, Olimpia, seems to indicate – comes predominantly from the lyric tradition and, even before, from the sapiential background of Greek culture?
– Olimpia , from the very first lines leads the reader to a place that has a precise initiatory connotation, a cave: “She was there / it was not the same / the face bleached in the intangible / nothing more belonged / turned in a the other that offended him / in the monster invasion in the distance / she was a closed breath / “[…] A place from which an underground journey begins, which is then the analogy of life, but also of death. We are inside a split mountain, in a deep and dark area that contains the image of the world, but we are also in the distance from that dimension. A distant place returns, and can not help but return, takes body, substance, in the dawn and in the dark. A voice marks the path, centered on harmony, but also on the contrast: life and death, darkness and light, sky and earth, masculine and feminine, opposites that recur throughout the work.
We are on the ruins of a city, in an absolute time, immobile, which contains every possible time. And the passage, from one dimension to another, carries with it the destiny of man. Everything has already happened, and in this absolute time, the natural and the supernatural coexist. The cave is, at the same time, the place of initiatory death and that of a ‘second birth’. From the depths of the earth, speaks an essence that is closed in a loss. Here reality seems to be observed from a Greek, archaic cultural background, but in an absolutely instinctive vision. Behold, I believe that all these elements, put together, make one think of a sapiential and orphic poetry and therefore, lyric: the turning, the swinging on the threshold of the wind, the night, the return. Creation lies within a vocal emission, a sound, a breath, which comes from the lips.
But in Olimpia’s poetry there is also an ethical dimension, meaning ethical natural and human experience that meets the universal without knowing its causes, rather, totally ignoring them. In Olimpia there is, in the end, the awareness that everything that human beings can really know is at the origin of their individual experience, and this does not have a rational explanation. Everything we discover with poetry as extraordinary individual beings, continues to surprise us, to surprise us.
2. By reading yourself, one has the distinct sensation that your writing proceeds by internal states and passages, drop by drop, and that you try to make yourself as much as possible, more than “author”, through. Is that so?