The last three books by Mario Benedetti form a dialectical reading them in parallel to understand the evolution of a poetic journey that reaches the synthesis of materials with an identity. The writing is composed of poetry, prose and a 'non-fiction text types "who does not embrace the logic and argumentation mechanisms characteristic of the genre: the links are organized by a conceptual ability to observe fully opera. The book continues the exploration of existential glory Human (2004) and black paintings on paper (2008): this writer is to find and recognize himself, experiences, things that belonged to him or belonging to him.
Materials identity is a key title: sense of identity is what has always dug Benedetti poem, and the materials are the culmination of this research. The identity is no longer recognized or alleged to the essences of things and people, but it crumbled into entities, bodies, atoms that make up our world and everything, but never particularly essential. For this all comes to coincide with nothing, with the void ("The defeat is the largest not be all '). Materials about a tendency towards the void, in the same way, in the persuasion and rhetoric, the image of the weight, which tends downwards is a metaphor for man's longing for the absolute. The work of Michelstaedter Benedetti is the topic on which you graduated: Join the reading of Bataille, Rilke, Sage, Celan, is the background of this writing. As the man Michelstaedter, the Materials I can not know things 'directly', but 'jointly', no longer able to communicate, but mean. The references to Bataille Michelstaedter are in a speculative summary: the idea of \u200b\u200ba poem 'fallen', 'enjoyment of subtracted images, "which consists of" ruins ", which is what the inner experience, is a common denominator of the ratio seen / invisible of the Duino Elegies, the links between unrelated signifiers in Sage, the poesia franta di Celan.
L’indagine esistenziale segue un processo di disumanizzazione. In Umana gloria le poesie hanno una trama, esiste un io che può ancora ricostruire l’esperienza vissuta: la testualità è spesso frammentata, ma la ricerca del soggetto è espressa con versi che la rendono esplicita al lettore. In Pitture nere la scrittura procede per automatismi: le esperienze non hanno più forme compiute e definite, la loro essenza si separa dalla loro materia, si disperde. La materia popola un universo nero in maniera disarticolata: colori, lacrime, reliquie, smalti, supernove sono punti di orientamento percettivi che restano sospesi. Nei Materiali, la «tipologia testuale saggistica» e la struttura recompose the book back to the dispersion. The first part, the tearing of the summit, about a poem that has lost heart, integrity, as a body that not only does not recognize the distinction between the physical and the psyche, but is reduced to "blood" (p. 41 ), its constituent material. If the body becomes the material of which it is composed, the I and you no longer have the ability to exist for one another, their experiences are among the many atoms that make up the universe, are half the land, half in the sky, with no possibility of genuine contact. The area populated by dehumanized materials is told in the closing section, biosphere: the final text, blue, and all the vacuum reaches a kind of balance almost ecstatic, as resolved, at peace. But no recurrence also the automatism of black paintings, which give the impression of a poem opened with an open meaning. Materials close to rear a poetic journey, leaving the ongoing existential questions. The search for Benedetti has reached the form of lyric-wise, but remains in the air, waiting.
Maria Borio
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