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Étincelle dailleursAs Love is Not EnoughAs Love is Not EnoughTAOU2AMlivhis01livhis02livhis03livhis04livhis07livhis08livhis09livpo017livpo018livpo019livpoe01livpoe02livpoe03livpoe04livpoe05LeDroitDePartirlivpoe05AkaleidoscopeLo que el silencio enmudició
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21 - أكتوير - 2017


Valeria Di Felice:

«Erotism is the approval of life up to death, and this is in the erotism of hearts as much as in the erotism of bodies.» (G. Bataille, L’erotismo, 1957)

Who believes that love is just immateriality, ideality, will never seize the vibrations of its true essence. The sensorial faculty, with the going through of corporeal worlds, recognizes the presence of the other and wraps him/her with an erotic charge which is immediate opening to life.

Erotism is a force that is housed in the man’s conscience and that questions his being. The body is not Cartesians’ tearing of unity between flesh and spirit, between shape and substance, but it is integrity, fullness and permeation.

In sheets in love (Italian version translated from Arabic with precision and at the same time with literary sensitivity by Reddad Cherrati), the logic of ordinary speech leaves its place to the poetic word to undertake unusual paths, non conventional, that better fit the discovery of the loving beat and the body is lived as an irradiation centre that, with its nudities, its mimics, and its fragrances goes beyond and absorbs the individual leading him towards the direction of sense.

Fatiha Morchid dumps in poetry her attitude to Love, both the bloody, passionate that dyes of acrid colors of torment and the warm one, fecund, quiet.

Love relationship is described as upsetting of self, as mutual giving and mirroring, as revelation of own identity that recognizes its own appearances only finding out the other person’s features.

The ceremony of sentimental relationships is seized through incisive power of figurative imagination and above all through sensorial faculty, full and heady, able to move expressive potentialities of the human being-man.

What emerges from the reading of verses is not an atrophied conscience that reduces the body to “object among objects”, but dizzy availability towards a perceptive sensitivity that becomes interpreter of desire, intense as leap to life, search of self and the other, elevation towards an emotive world in suspension, rich of echoes, drifts, movement. «Amara/ è la solitudine della nave/ violenta è questa immensità/ ardente è/ la mia brama di te»; «Porto il tuo tatuaggio/ tra le pieghe del cuore/ come si spegne l’ardore/ di colui che nasce/ ad ogni battito?»; «Dall’erotismo/ del tempo fugace/ sottraggo un brivido/ per non morire/ di quiete.»

Through a refined and sensual psychology, Fatiha Morchid poetry summons scenarios where love shiver upsets the tidiness and shatters the surenesses of ego. But it’s thanks to this phenomenon of love that lyric ego scouts himself and opens to the world of life tasting, with now pleasant and fecund tones, now acrid and wheezing, tastes of its fragrances. The subject becomes writing of voice, of body, of imagination, of passion and yearns for the infinite.

Because of its ambiguous vocation, elusive, perturbing, the poetic language is itself “love speech”. When the word is still, the silence made of pauses, caesuras, rhythmical slowdowns, induces to listening, to reflection and interior discernment.

The love writing gets heady with the breathing of nature and through sound, intonation and intensity, turns towards an enigmatic emotive universe where masculine and feminine do not overlap but they compose to each other (sym-bàllein) in a dialogue that lives a mutual of looks between the ego and you.

Poetic intention welcomes fleeting impressions the landscape offers itself with to the poet’s eyes and seems echoing nature’s moving, with its rustles, and its shadows. Released from the marginal role of descriptive frame, nature harmonizes with an hermeneutic of love and a metaphysic of eros able to reproduce afflatuses now harmonious now tormented, now nostalgic now hopeful.

In the nature it is locked a metaphysic truth that presumes secret affinities, thin correspondences between external landscape and ethereal one, invisible, that collapses into man’s more iridescences instances. Let’s think about the symbol of the butterfly that hints a transformation, a re-birth, a delicateness of a phase beyond which the condition of maturity is experienced. Or yet the rose, with its grace and fragility, expresses the conflict of a spirituality that lets itself be fascinated by its essence, vulnerable and at the same time stinging. «Una rosa/ sboccia precocemente nella mia mano/ come posso proteggerla/ dai venti del nord?/ Se chiudo la mano/ si seccherà/ e se l’apro/ scivolerà in balìa del vento delle domande./ Una rosa/ temo che si ferisca con il suo profumo/ e con la brezza del suo fascino/ mi affascina la mia estensione nella sua mano/ mi fa soffrire il mio sdoppiamento.»

Last part of the book, the colors of perturbation, is the explicit revelation of this indissoluble bond between nature and man: the poetic look is seized through pictorial inspiration and dumps into a game of colors and canvases, in a landscape that as the sheet, is not just simple image or vision, but infinite projection of self, it is an act of extroversion and trespassing of own vital energy.

The real landscape, with its rocks, its waves, the moon, the sea, the mountains, switches into a symbiotic representation of interior landscape and runs the paths, the meanders, the crossroads «Colori mesti/ inondano la geografia di un quadro/ palpita/ nel cuore del tempo/ un urlo/ nel quadro/ del mio cuore/ giace una tristezza/ d’iridescente azzurro.»

In this seesaw of emotions, the “in love sheet” shows the nature of our essence, revealing the excess, the unusual, the devastating and turns into senses language, suffered but satisfying search, in an experience that collects all soul’s impetuses, soul that pulses of life as if its “sale” wouldn’t be anything but “a sheet scattered by the wind”.

Rivista "PELORO 2000", A. XIV n.2, aprile-maggio 2010, diretta da Domenico Femminò, pp. 10-11.
(translated From italian by Luca Fracassa)

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