Martiniello and poetry of South
In these days, and during the months of October and much of November and December that will be discussed in Irpinia, poetry, poetry of the South, and how this poem could become concrete objects study and reflection, in our schools, those in the province, those in the South
The school, like the University, may actually become the venue for a rediscovery of real, concrete, a poetic production is too often held the edge, too often snubbed, excluded. You will thus realize the hope that more than fifty years ago called for Salvatore Quasimodo, or the creation of a "paper poetry of the South".
In this context, a role can be played by the institutions, the province of Avellino, for example, local authority from high schools, school managers and teachers, and pupils, which could reappropriate their history and their own identity starting from poetry, from poets militants, who told the South by those closest to us, who are its difficult transition to modern society and living. Perhaps in this way, you design a new South, or creating new players, making the young players and aware of the difficulties involved in living here, but also of shared utopias that can lead us out of the current crisis.
short, retrieve a season meridionalistica now relegated to history books and political science means discussing the real problems of South and Irpinia among the people, even among people and between young people who represent our future.
Young people, in these days of discussion on poetry taking place with the "Festival of Poetry of the South", imagine a new leading role, which means in a practical approach to poetry, to write poems, commenting, writing articles, making movies, photographic exhibitions, and even sending e-mails of protest to newspapers that devote little attention to the poetry of the South This is also a good way to hear the voice of dissent from below.
A book dedicated to Pasquale Martiniello 
But undoubtedly, because the poetry of the South finally buy a visibility even the slightest must first realize that tools work and study modern and capable of guiding students and teachers in the folds of poetry, and at the same time to stir in the media that interest is lacking.
Thus, a unique poetry in the history of Irpinia, is the volume devoted to poetic works of the poet Pasquale Martiniello plum, one of the deans of the production lines in Irpinia, a prolific author and distinguished authority, whose voice has fascinated many critical and most recently Antonio Crecchio, which has just signed on heavy volume poetic spiritual and artistic evolution of Pasquale Martiniello . The work is meticulous, carefully constructed, which reconstructs the evolution of the author and more than thirty years down the poetic writing, during which twenty-two anthologies were published, some of which are true masterpieces as paradigmatic of the poetry of South
Martiniello, it must be remembered, has devoted much of his life to poetry. The first collection dates back to 1976 ( Testimonials Irpinia), but in reality the poet had written verses from his youth: Most of this production before, however, has been irretrievably lost. Since 1976, however, Martiniello has increasingly intensified his 'poetic work', and in recent years, ie since 1995, has published collections of poetry at least annually.
Crecchio, in detail and taking advantage of the rich literature dedicated to the author, described this vast poetic production, the first phase (1976-1980) at its center the Irpinia. Moreover, the clarification is the title of the first harvest. In this I go back years, the poet describes his land, and recalls a more or less distant past, the rivers (ungarettiani tones), religious beliefs, feelings, hunger, fatigue, starvation, war, Irpinia cursed destiny, women, out-migration.
In this collection, among others, began to be consistently the 'dialogue' and will not stop ever with God, and condemnation of the sad realities of the South By way 'of example, I quote the opening words of the poem that gives the title to one of the collections, "Exodus": "South / purgatory of antique / sighs / penitence and tired. / / Offertory of masses and candles / saints boss-guardian. f you go from always / with barrels full of water / cistern / wine and water bottle, / stocks in many different bags / pockets and seeds in the holds of .... "
With Tears in the doorway (1982) begins the second season of poetry Martiniello. The first part of the collection, in fact, still has a plan and simple style, while the second - Earthquake soul (to the victims of November 23, 1980) - is characterized by a new style, metaphors and images to dark, painful, violent, for example, "A school / horny" (Madness), "the land s'intigra" (On the cheek). Appropriately, Joseph D'Errico, in the preface, he notes: "The poet uses things as symbols of a speech tutt'affatto human feelings and goes down, so to speak, in a magical realism and tragic together. The result is a rugged style and essential, in which the secret dialogue with the things and life becomes vibrant images and words are punctuated with clear understanding of expression, but not isolated and scattered. "
Compared with the first season, the other new feature is the enlargement - so to speak - the panorama of interest: inaugural gathering was linked to Irpinia (significant is the title "Testimonies Irpinia"), with those of the second period deals with the "Italian problem" as a whole ("Viper in the boot"), or further expands the optical (The lament Gea, 1989). The hour of the hyena with (1993) closes this second season: the tone becomes more somber and pessimistic, now the poet expresses his sorrow for a world of monsters and hyenas "who" tear her soul " . This book - the mirror of the climate of Tangentopoli, which then prevailed in Italy - also testifies to the intellectual crisis, which expresses for the first time in its full way before indignatio a political class greedy and corrupt.
With the 1995 opening of the third season of poetry Pasquale Martiniello, the period of memory and the cult of the past. In fact, the reason was already present in previous anthologies, but now, especially with a masterpiece in the genre (The songs memory), the evocation of the past is placed in a timeless space, which also represents an escape from the modern world . With insight, has written in the preface Aniello Montano: "Reading the poems of Pasquale Martiniello, chants memory, has the effect of transport in a time and in a spiritual atmosphere far, far away from the inhuman world and disrupted in which we live, out of our world and roaring whirlwind, pompous and arrogant, but poor humanity and spirituality. "Further, more acutely, Montano mentions Hesiod: in fact, Martiniello can be likened to the great poet of Ascra for the extraordinary love he feels toward of farming.
Montano's reflection can be supported even when the poet points out that wanted to - in the same manner as the other poets of the southern lines `'- groped flight from the world of his ancestors, and as at the end of this flight has desired return: "The flight, Martiniello, carried it out. But, over time, hath been noticed that he was tied to that place and that culture with a kind invisible elastic.
The more he runs, the more elastic the tents, most violently, and returns to the place from which he fled. And, Martiniello riorno this is not a punishment. It is a hope and a plan, at least for you! "
The last - for now - a time of poetry is the most fully Martiniello satirical, outraged," politics ", Baroque, and experimental, and is inaugurated by the lunatics (1999). Fittingly, in his preface to this book, Antonio Crecchio already had written: "Martiniello, a well regarded, is a kind of Janus, with an eye toward the past, to history, civilization literary classic and modern, traditional ethical values \u200b\u200bto the world [...] and another addressed to the present, the topicality, chronicle the daily events, the evolution of the undisputed cai3cerogeni evils of our time, which prefigure as planned, and carried by evil minds and foolish, a kind of curse that the planet can not shake off humanity. There is a social phenomenon, political or moral that is outside of our attention: his reflection touches such a wealth of issues for which it is easy to see his meticulous collection of data, now supplied by the memory, now from reality now by many different media. "
This vein satire, reminiscent of Juvenal, is present in Roots (2000), The showcase (2001), Oxymoron (2003), and is accentuated further in the Woodpecker (2003), The Mosquito (2004 ) and the Spiders (2005), and then in the last owl's eye and The weasels.
Before the disintegration of modern society, facing the moral decline and the wounds of this world corrupt and ill, Martiniello, comparing himself to the woodpecker, you represent themselves in this way: "... I poked at with sharp / webs of consciousness degraded / stucco and the tricks of the politic ...".
Martiniello Italian poet
also Crecchio collecting all the literature devoted to Martineillo reveals, if there were any need, the national character of this author, who have devoted pages to study the likes of George critci Squarotti Barberi, Francesco D ' Episcopo, Ugo Piscopo, Giuseppe Giacalone, Luigi Fontanella, Maffeo Pasquale, Mario Alberto Moriconi, Plinio Perilli ...
short, Martiniello could be one of the poets, that schools could take in Irpinia, and thereby contribute to realizing the paper poetry "of which the South needs and that Alberto Asor has advocated for many years.
SOURCE;
http://www.literary.it/dati/literary/altri/levoluzione_poetica.htm
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