Pubblicato il 07/11/2024 20:40:30
Many of these pages go to compose a sort of private diary, committed to a language with strong emotional impact, often woven with tòpoi that are more conspicuous of the poetic imagery of Post-Romanticism (with unique accents of the Scapigliatura) […]. Lerro, it is understood, is a poet who needs to lie in vast spaces, to appeal to a wider repertoire of figures (himself he confesses in a note to have loved “metaphors, syntactic
inversions, oxymoron, metonymy, the search words, rhyme, assonance, anaphora”), to seek forms of expression with a strong communicative tension […].
If, on the one hand, the quality and the rhetoric of this poetry are
striking, on the other hand, the excess of ease with which the author uses his materials, both biographical and literary, as well as his tendency to abuse images of abjection and desolation perplexes us [...]. But, as for other poets born in the Seventies and Eighties, and it is certainly a merit compared to prevailing minimalism in previous generations, literature appears to Menotti Lerro as a space of truth to which he gives himself up without hesitations and distrusts a repertory of styles and symbols that
continue to burn on the page, to nourish the bleeding and wounded “self” on myths and reason. Among the many styles that characterize the book, we prefer the Bachelardian poet who writes: “I have extinguished the candle in the night / the shadows remain on the walls of the mind”.
From: The Poetry of Menotti Lerro, Cambridge Scholars Publishing, 2011
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