Historiae

Antonella Anedda's poetry has always been characterized by offering a kind of look with infrared rays, with a perceptive skill capable of illuminating imperceptible figures, of evoking absences and shortcomings. And also in this book, while explaining the tragedies of migrants who drown in the Mediterranean or the lives of those who have to look for scraps of food in garbage containers, it is above all through powerful images that the Italian poet anticipates the different historiae. Images that bring to light what we don't want to see. In the center of the poem, then, we can find everything that has been repressed throughout the history of the West, but well interwoven with incursions into the Sardinian language and other elaborations of personal grief. As if there was no difference between the public and the private and the anxiety was part of a whole. Beyond history, however, we find geography and geology. Thus, the first and last sections, which frame the most political core of the book, are dedicated to landscapes that are at the same time concrete and metaphysical, and to the bones of the dead, which remind us that the human being also belongs to the mineral nature of the universe