Interview with Gianni Toti
[... ] Friday, April 24, at the premises of the Cultural Center of the Tower of Forio ... the Guests were Marinka Dallos, Gianni Toti and Prof. Peter Sarkozy, a professor of Hungarian literature at the University of Rome, who introduced the evening with a historical-critical report on Hungarian poetry from its origins to the present.
Marinka Dallos and Gianni Toti have read, among other things, texts Deszo Kosztolányi, Jozsef Attila, Ady Endre and Miklos Radnóti.
At this latest meeting of poetry I have asked some questions to his friend Gianni Toti.
- Top Referring to what Lanuzza Stephen writes in a recent essay about your poem: "Gianni Toti, who plays Italian Jarry sort of existential and historical occasions, ecologist ideology hostile to the pollution of news and pestiferous followers that much still adugiano our literary republic. " Very roughly, I ask: what is the function of the poet?
This type of question is similar to the questions with which we organize conferences and conventions, what is the function or how the intellectual, the musician, the philosopher ... This is a question to ask or not perhaps be formulated in a different way: there is a function of the poet. Because the poet is not an official, not acting, fails to comply with, and USELESS. At this point may seem provocative, but if I tell you that the poet should not be useful to anyone, everything becomes clearer. Do not be useful means not to be usable, it means not to serve. If I say that poetry is not needed may seem provocative, but if I tell you that poetry should not serve as anyone's different. If nobody needs it serves, but to itself. For this reason, I always say that poetry should not serve either the Revolution or any other noble cause. If anything, I think you need to make a revolution because the revolution is to poetry.
To clarify this idea I remember the title of my latest book of poetry, Compoe [to] infungibile compatibility, which summarizes the idea that poetry is infungibile, ie did not work, that it is not [to] ble with itself, hence the neologism unobtainable: incompatible [to] bile.
- A question I ask my friends for years to poets. That sense (and utility) have poetry readings in public, festivals, debates, round tables, surveys, etc?
The answer to this second question is closely related to the first. The reader must be infungibile. The reader is the poet of the second degree and perhaps should be considered the poet of the first degree, being the recipient of the poetry, the purpose of poetry, and every cultural operation should be directed to the full respect of the recipient. In the same way in which the recipient must not let manipulate the exploitation of the initiatives.
Each reading every meeting, every festival, etc., must be different from those that take place today. Hasty, superficial, brief, jerky. These readings are only quotes, summaries, abbreviations, and a re-creative work of poetry that should not be less intense and complex creative work of the same author. The readings that are made today are often a lesser evil, to serve some interests and among these may be those of the individual poet to be known, but will not serve to poetry. Indeed, in most cases, serve to give a wrong image to poetry.
Who attends these readings believes he approached the poem, when he heard a few verses or compositions of some authors for five minutes (Castelporziano, Piazza di Siena), or one quarter of an hour / half hour at best, when they came to know only some quotes of poems read, usually bad, the author is not accustomed to reading, be it from with drawl without being able to distinguish and reconcile the two sides of the sign: the signifier and meaning, that is the look and sound real referent, or even to understand the composition of the breast and so on. etc.. and perhaps we should go on and on ...
- What do you think the lines of research and experimentation the liveliest and most interesting poetry of that period?
more committed and responsible critics are trying to identify the forces and movements that are projected into the future of poetry. In this the last attempt made sense, beyond the anthologies, more or less the area is that of Renato Barilli: Journey to the End of the word *, published by Feltrinelli. This identifies the critical work of some Italian poets, and poets among them my own work, elements that were also called postmodernists, I seem to be able to overcome the extreme crisis of meaning and language of our time. Everything has been said and written.
All forms of discourse, all the metaphors, the styles have come to the fullness of history and the word has reached its extreme limit, the silence. As an alternative we have only the conscious use of the already said and written or innovation intraverbal, that is based on attachment to the sacred core of the word. This direction of work is only one possible way of the future of poetry. Personally I believe that in the transition from the galaxy of Gutenberg to the electronic version is thrown open for poetry in the streets of the most advanced technology and artistic combinations, the different sensitivity through the use of multiple sensory prostheses. In other words, I believe in the possibilities of realizing, as I have already done some experimental electronic Rai, what they call the Poetronics or electronic poetry.
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