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Pierino Gallo, Geometry of deception, Aljona Publishing, 2008, 62 pp, Euro 11.
1. Man and the wandering poet or absence, not only in the sense of deception-deception but also of wandering, walking and the "not there". It 's the appeal of Peter Gallo in his new work. The title "Geometry of Deception" is the distinctive perspective from which we observe the condition of human presence, a victim of negative stereotypes and the disarming of the established social forms. Only at first sight seems to give the poet abandon, succumbing the extreme polarities: the surrender to the old dichotomies of light and shadow, presence / absence, gray / color, joy / pain that accompany the wait.
The sweet and bitter juices licor, emblematic of the great loan rate, used in the subtitle, indicate the location to which the reader will encounter. But it is only apparently so. It 's a feeling. In the construction and development of the text, if anything, shows that the poet does not allow itself to be carried away by time / event and the constellations of the pain. On the contrary, it will be capable - able to be director of their state - to manage each step with awareness, any context, any custom. Therefore, to deliver (and to consume all this), Gallo leads to a corpus of lexical impact: the masks, the prank, the enigma.
characters associated with it, to shape and action, metaphorically represented in the history of world literature and imagery, the inhibitions that deconstruct the experience. The Charlatan, the Liar, the silence, the Fool, the Miser, flattery, Harlequin condense the idea of \u200b\u200bthe way, an obstacle. They are constantly on stage and they write beautiful verses behind the world.
In this poetic journey, Pierino Gallo given to each of them, for clarification of meaning, a role: it indicates the conflict, the behavior, the problems suffered.
Through a narrow technical approach, returns to the surface voluntarily (as they say "to come out") to understand the meaning, intent and neutralize them ... and ... the mask and check that you played the constant torment of the fool .. (p. 39-Harlequin).
Our public existence, in the immense drama of everyday life, is peopled with such plurality. "I hate masks mocking laugh / hate dell'istrione mocking laugh ... remember the jeers of a timid child." Masks and then push pranks to deny themselves for a more-is that there is not, that has no destination and that is not even our projection. Therefore, the enigmatic, who takes hold of every step or movement in our scene, is due to absences and wanderings. Significant verses on pg. 32: "The poetry of the masks / ha this enchanting: it is to write poems, / not knowing to do so. / Flip / false and nature / life and artifice." Reminiscent of the intricate stories of Pirandello's characters and the same search for "Geometry", in my opinion, it moves on this line of soundings.
2. The dissolution of their individuality and the allegory of the time (or timing) is the measure of deception, whose capacity plural wrecks any project and the suffering sovraespongono and uncertainty. The deception ruin the effort to re-order their lives. The deceptions disturb any relationship, the size of their emotions, feelings and prevent the planet to achieve goals and affirmations.
The "geometric plan of deception," referred to by our poet, is a closed system. Perfection is available as an immovable balance calculation, a closed system that creates a condition of the subject and discuss complications and pre-judge, here, the recovery in absence.
Gallo writes on pg. 42: "The loafers on the stairs calling for paper airplane in the shadow memories ... ... fearless best pretend to sew that convulse the wings moves that affect the oracle of the great deception. " Simulations and illusions do not help. However, neither courage nor ghosts will fill the gap left (see also the reference to EA Poe, Eiros and Charmion, Monos and Una). Even in favorable circumstances, "the urns of the poets, in broad daylight, living remnants of the evening," to say what is left. Lone ranger and be the ring of wandering poet is conceived as a chain or as a wall of a maze or treated like a passage that, by contrast, facilitates and does not stop the "viande circular, the return on the same position more than to the Elsewhere. The ring of wandering is a cursed seal that identifies the condition and complicates the tendency to free itself from the geometric canvas rifondante new tricks.
And there's always a wall associated with absence, which attract each other ("rough / litter / the wall / remember your / sad absence").
A mirror, perhaps a full stop or a way out. Strange shapes on the wall trace the awareness of elsewhere, but if that creature is the result of the visions on the wall, here's the riddle reappear, returns with the fear of deception ... the profile of the man who gets thinner (p. 27). Happy choice, weaving effective to prepare a new arrival. Although someone has closed his eyes at the end of the pier, the sun is in port della continua assenza dislega inafferrabili matasse. Sul frammento, però, si ricostruisce. La via maestra non dava scampo al ciglio del burrone, ogni singolo pensiero reclama ali, angeliche, remote.
Panegirico degli anni, fili dell’altalena oltre le ombre, sentieri snelli al ragno tra le fronde.
Si fa strada il bambino che sulla pietra più bella scriveva i nomi dell’infanzia , l’urlo della cicala che rimette in marcia, lavorìo di forme su strale consunto e rinato.
La ricerca di senso diventa ricerca di se stesso. In questa parte del libro, l’autore, propone un altro blocco lessicale, in positivo: il viandante e l’estrema scelta di restare per sempre bambino, (pag. 26), il cappello ripped of the poet, for many lifetimes away from the men who finally remembered for being in the world (p. 28), the sound of the voice of the rain. All done semantics as the wait ... my bold advance hour wait ... I will tell my voice to the secret of eternal noise, (p. 37) ... the strings sound of the lute, the model in the shadows from the heart somewhere else ... ( p. 29).. This is the moment when Gallo made the effort to draw in its path, (as if to claim relief, support, assistance), the witnesses, guardians of the great poetry and art world through the individual experiences: De Chirico-Klimt, Neruda, Montale, Poe, Verlaine, and the same rate. Tests addressed ask to go, no matter where or if they have the taste of the confusion. No matter if you remember the constant wandering between Love and Death. The important thing is to go, says Gallo, recognize the glow rising at dawn and go forward, as it has arrived. "Nobody realizes that it is easier to love than to live soon." Well, the discovery of love, so powerful and so simple that free and upsets.
3. With this book, Peter Gallo enrich his poetic writing, demonstrates extraordinary skill and customize a stylistic model. The approach of the reader is often not easy because of the intensity of the chosen code e della polisemia dell’impianto espressivo. Ne ammiro la serietà della proposta letteraria. Il verso è fortemente radicalizzato, interiorizzato, mediato, curato, filtrato. Ogni parola è passata al setaccio. Il lessico è più ricercato e nuovo (sull’esempio di Montale). Geometrie è un decisivo passo in avanti nell’uso dello strumento linguistico espressivo nell’elaborazione letteraria, nulla è a caso o affidato alla spontaneità dell’ispirazione lirica. Apre e chiude diverse liriche con lo stesso tenore, con la stessa chiave d’avvio. Vi sono testi altamente lirici: “Inafferrabili matasse” (pag. 13)… “ Ti troverò. nascosta tra le brame dell’autunno” (P. 23) ... "In the mouth of the hawks" (p. 49) ... "It 'was the smell of the wind" (p.55) ... "Bring me the sunflower" (p. 59).
E 'poetry of the poets, the one that is good for the heart and literature. Those who rely on us as the voice of the rain that flows in nature and culture (interesting in this regard, the reference to the Navajo Indian people). In a beautiful and touching opera, Gallo reminds us that "In the noise / ice / waking up / the earth / fustigante / beauty / compartment / spell" was the flight dell'intrepido poetry, like the frogs in the game. At the conclusion of the work, to highlight this wonderful Report Life / Poetry, Gallo returns to Eugenio Montale and the famous poem Bring me the sunflower that I may transplant it. The yellow flower as an emblem Montale, testimony or pass routes. Writes: "Bring me the sunflower / that leads to Hell." Add: but only to understand it, ... even with marble will understand, to seek salvation (Pasolini's salvation, they reported 'Ashes of Gramsci) for an unattainable anywhere else in any geometric deception.
1. Man and the wandering poet or absence, not only in the sense of deception-deception but also of wandering, walking and the "not there". It 's the appeal of Peter Gallo in his new work. The title "Geometry of Deception" is the distinctive perspective from which we observe the condition of human presence, a victim of negative stereotypes and the disarming of the established social forms. Only at first sight seems to give the poet abandon, succumbing the extreme polarities: the surrender to the old dichotomies of light and shadow, presence / absence, gray / color, joy / pain that accompany the wait.
The sweet and bitter juices licor, emblematic of the great loan rate, used in the subtitle, indicate the location to which the reader will encounter. But it is only apparently so. It 's a feeling. In the construction and development of the text, if anything, shows that the poet does not allow itself to be carried away by time / event and the constellations of the pain. On the contrary, it will be capable - able to be director of their state - to manage each step with awareness, any context, any custom. Therefore, to deliver (and to consume all this), Gallo leads to a corpus of lexical impact: the masks, the prank, the enigma.
characters associated with it, to shape and action, metaphorically represented in the history of world literature and imagery, the inhibitions that deconstruct the experience. The Charlatan, the Liar, the silence, the Fool, the Miser, flattery, Harlequin condense the idea of \u200b\u200bthe way, an obstacle. They are constantly on stage and they write beautiful verses behind the world.
In this poetic journey, Pierino Gallo given to each of them, for clarification of meaning, a role: it indicates the conflict, the behavior, the problems suffered.
Through a narrow technical approach, returns to the surface voluntarily (as they say "to come out") to understand the meaning, intent and neutralize them ... and ... the mask and check that you played the constant torment of the fool .. (p. 39-Harlequin).
Our public existence, in the immense drama of everyday life, is peopled with such plurality. "I hate masks mocking laugh / hate dell'istrione mocking laugh ... remember the jeers of a timid child." Masks and then push pranks to deny themselves for a more-is that there is not, that has no destination and that is not even our projection. Therefore, the enigmatic, who takes hold of every step or movement in our scene, is due to absences and wanderings. Significant verses on pg. 32: "The poetry of the masks / ha this enchanting: it is to write poems, / not knowing to do so. / Flip / false and nature / life and artifice." Reminiscent of the intricate stories of Pirandello's characters and the same search for "Geometry", in my opinion, it moves on this line of soundings.
2. The dissolution of their individuality and the allegory of the time (or timing) is the measure of deception, whose capacity plural wrecks any project and the suffering sovraespongono and uncertainty. The deception ruin the effort to re-order their lives. The deceptions disturb any relationship, the size of their emotions, feelings and prevent the planet to achieve goals and affirmations.
The "geometric plan of deception," referred to by our poet, is a closed system. Perfection is available as an immovable balance calculation, a closed system that creates a condition of the subject and discuss complications and pre-judge, here, the recovery in absence.
Gallo writes on pg. 42: "The loafers on the stairs calling for paper airplane in the shadow memories ... ... fearless best pretend to sew that convulse the wings moves that affect the oracle of the great deception. " Simulations and illusions do not help. However, neither courage nor ghosts will fill the gap left (see also the reference to EA Poe, Eiros and Charmion, Monos and Una). Even in favorable circumstances, "the urns of the poets, in broad daylight, living remnants of the evening," to say what is left. Lone ranger and be the ring of wandering poet is conceived as a chain or as a wall of a maze or treated like a passage that, by contrast, facilitates and does not stop the "viande circular, the return on the same position more than to the Elsewhere. The ring of wandering is a cursed seal that identifies the condition and complicates the tendency to free itself from the geometric canvas rifondante new tricks.
And there's always a wall associated with absence, which attract each other ("rough / litter / the wall / remember your / sad absence").
A mirror, perhaps a full stop or a way out. Strange shapes on the wall trace the awareness of elsewhere, but if that creature is the result of the visions on the wall, here's the riddle reappear, returns with the fear of deception ... the profile of the man who gets thinner (p. 27). Happy choice, weaving effective to prepare a new arrival. Although someone has closed his eyes at the end of the pier, the sun is in port della continua assenza dislega inafferrabili matasse. Sul frammento, però, si ricostruisce. La via maestra non dava scampo al ciglio del burrone, ogni singolo pensiero reclama ali, angeliche, remote.
Panegirico degli anni, fili dell’altalena oltre le ombre, sentieri snelli al ragno tra le fronde.
Si fa strada il bambino che sulla pietra più bella scriveva i nomi dell’infanzia , l’urlo della cicala che rimette in marcia, lavorìo di forme su strale consunto e rinato.
La ricerca di senso diventa ricerca di se stesso. In questa parte del libro, l’autore, propone un altro blocco lessicale, in positivo: il viandante e l’estrema scelta di restare per sempre bambino, (pag. 26), il cappello ripped of the poet, for many lifetimes away from the men who finally remembered for being in the world (p. 28), the sound of the voice of the rain. All done semantics as the wait ... my bold advance hour wait ... I will tell my voice to the secret of eternal noise, (p. 37) ... the strings sound of the lute, the model in the shadows from the heart somewhere else ... ( p. 29).. This is the moment when Gallo made the effort to draw in its path, (as if to claim relief, support, assistance), the witnesses, guardians of the great poetry and art world through the individual experiences: De Chirico-Klimt, Neruda, Montale, Poe, Verlaine, and the same rate. Tests addressed ask to go, no matter where or if they have the taste of the confusion. No matter if you remember the constant wandering between Love and Death. The important thing is to go, says Gallo, recognize the glow rising at dawn and go forward, as it has arrived. "Nobody realizes that it is easier to love than to live soon." Well, the discovery of love, so powerful and so simple that free and upsets.
3. With this book, Peter Gallo enrich his poetic writing, demonstrates extraordinary skill and customize a stylistic model. The approach of the reader is often not easy because of the intensity of the chosen code e della polisemia dell’impianto espressivo. Ne ammiro la serietà della proposta letteraria. Il verso è fortemente radicalizzato, interiorizzato, mediato, curato, filtrato. Ogni parola è passata al setaccio. Il lessico è più ricercato e nuovo (sull’esempio di Montale). Geometrie è un decisivo passo in avanti nell’uso dello strumento linguistico espressivo nell’elaborazione letteraria, nulla è a caso o affidato alla spontaneità dell’ispirazione lirica. Apre e chiude diverse liriche con lo stesso tenore, con la stessa chiave d’avvio. Vi sono testi altamente lirici: “Inafferrabili matasse” (pag. 13)… “ Ti troverò. nascosta tra le brame dell’autunno” (P. 23) ... "In the mouth of the hawks" (p. 49) ... "It 'was the smell of the wind" (p.55) ... "Bring me the sunflower" (p. 59).
E 'poetry of the poets, the one that is good for the heart and literature. Those who rely on us as the voice of the rain that flows in nature and culture (interesting in this regard, the reference to the Navajo Indian people). In a beautiful and touching opera, Gallo reminds us that "In the noise / ice / waking up / the earth / fustigante / beauty / compartment / spell" was the flight dell'intrepido poetry, like the frogs in the game. At the conclusion of the work, to highlight this wonderful Report Life / Poetry, Gallo returns to Eugenio Montale and the famous poem Bring me the sunflower that I may transplant it. The yellow flower as an emblem Montale, testimony or pass routes. Writes: "Bring me the sunflower / that leads to Hell." Add: but only to understand it, ... even with marble will understand, to seek salvation (Pasolini's salvation, they reported 'Ashes of Gramsci) for an unattainable anywhere else in any geometric deception.
Piero De Vita
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