2024-10-29 19:38:00
From 30 October on newsstands for a month with the newspaper «Le mie canzone d’amore», the volume edited by Daniele Piccini dedicated to the poet who passed away on 1 November 15 years ago. In his verses storms and sun, the darkness of the hospital, the strength of the word, Milan
«I always wake up fit and deform myself through others», this is what Alda Merini thought, on an ordinary day, without wanting to go down in the history books with this statement. However, this quote, spontaneous and ordinary for her, instead became an aphorism. The pages that tell of the most beloved poet of the twentieth century are full of inspired lines without any literary intent: Merini underlined life, her own and that of others, with some instantaneous thought, often not written but only dictated, as if it were a short confession or a subtle imprecation. However, it happens that genius, even if it consists of just two words, ends up in anthologies. It was Merini. It’s the Merini. And the «Corriere della Sera» remembers her with the book My love songsedited by Daniele Piccini and with an afterword by Antonio Troiano, on newsstands from today for a month.
Alda wrote in that small room overlooking the Ripa Ticinese in Milan, when her heart was full of expectations and the night was advancing. There was no refuge for her, sensitive to every rustle of life, other than to invent a script capable of illuminating the darkness of existence. In that tiny apartment Merini stopped his daily intentions and scrutinized life. Milan flowed at his feet, along those tracks that no longer exist today, where the tram rattled and plants still adorned the banks. That place was an alcove of certainties: Alda lived there alone but always in the company of the world: leaning on the tables of a bar, with a glass of coffee and milk for lunch, she wrote poems that she sold for a thousand lire each. Someone already knew her and loved her. Others looked down on her and hated her. However, affection won: those handwritten notes smacked of genius.
Bar Charlie was a safe hangout. She sat in a corner, almost ashamed of existing and being free: the years in the asylum had marked her but not destroyed her. A path to survival: Internment and the fall into obscurity never robbed Merini of the strength to rise again: «You know Bonassina – she told me in the nightly phone calls – in the mental hospital I had companions in misfortune who wanted to commit suicide. Instead, I felt life flow beyond those gates and I paid respect to the Creator. I slapped a woman, snatching the pills she wanted to get rid of from her hand. By saving her I saved myself too.”
Milan and the Navigli, the house on the second floor overlooking the city, the silence of the night and the noise of the day: Alda loved her neighborhood with absolute dedication. There between one shop and another, between the market stalls, he spent his day with his eyes attentive to every soul, weak among the weak, but generous and generous with money he didn’t have. This is also remembered by Giuliano Grittini, a master printer, artist and photographer who was close to her for twenty years, portraying her in every pose: «When Alda recovered some money from the publishing houses she suddenly and unduly felt rich and gave banknotes to those who needed them. I remember that little Roma girl, who stood on the bank of the canal, with a few pieces of paper, a pencil and a lot of art in her hands. To her, whom Alda adored, and to her friends in line, in a few moments, all coveted money and just received from the publisher went to charity.”
Merini was generous towards those who, even in a city full of work and opportunities, found it difficult to live. In silence, almost surly so as not to be noticed, she helped young people: whether she was a budding journalist or an aspiring poet, she opened the door of the house that had no locks. The latch was his gaze: it was the one that welcomed you or rejected you. But his eyes were shining and inside were the flames of hell or the lights of heaven. We didn’t know the dividing line from where Alda drew ideas and thoughts, where he collected, in his measure, without metric, good and evil: there the heart rose or the soul sank. Merini’s poems knew how to collect the storms and the sun: nothing inside her had peace. He wrote in front of the mirror of his soul, where shadows and lights met to become poetry. He had unconditional demands but sealed by an extreme sensitivity.
From her observatory, hidden in the Ripa, Merini also knew how to look and recount, ruthlessly, the plagues of the city. Alda often “questioned” the hospitals, from San Paolo to the Polyclinic: it happened due to an unlikely suicide attempt or a real heart problem. This is how he responded, theatrically and gasconily, to one of my questions. «The doctors and nurses, are they all good people?», «They are the Good Gods Betrothed. The Unnamed is the head doctor, because you don’t know who he is, and you should never ask about him. Then there’s Don Rodrigo who makes you sign the discharge when you’re in a coma. THE Betrothed I’m in via Francesco Sforza.” And of his doctor: «When I call the doctor he tells me: listen to my cough, I’m not really well». It was her Milan, foggy, impenetrable and generous, just like her. It was her city, like her, greedy for life and afraid of empty streets. But the poets write at night: «… when the last fears fall and the soul throws itself into adventure».
Memories and tributes in the name of poetry
15 years have passed, it was November 1, 2009, since Alda Merini no longer exists. Years in which his memory remained alive, not only in Milan. It just came out in bookstores I don’t have the courage to talk to you
collection of unpublished verses edited by Ambrogio Borsani for Interlinea, written by the poet for her lost friend Roberto Volponi, son of the writer Paolo. On Friday 1 November, the round anniversary of her death, the Cetec Association in collaboration with the Alda Merini cultural association is promoting the Festival a Casa di Alda Merini until 25 November, a cycle of events hosted between the Spazio Alda Merini, the Teatro Elfo Puccini and the Ambrosianeum Foundation. Even the «Corriere», which had a special bond with the poetess, remembers her: from today, for a month, it will be on newsstands for 9.90 euros plus the price of the newspaper collection My love songs, curated by Daniele Piccini. In the afterword, Antonio Troiano, head of the Culture editorial team, talks about Merini’s relationship with the newspaper. A connection that is a sign of the attention that the «Corriere» has for poetry: this March too, after last year’s debut, we will dedicate a month to poetry, with articles in the newspaper and «la Lettura» and initiatives. In the same period, in Milan, the Adi Design Museum will host the exhibition, curated by Aldo Colonetti, from 3 February to 23 March Gianni Sassi: a cultural laboratoryopportunity for an Adi-«Corriere» twinning in memory of «Milano Poesia». The 2025 Agenda of «la Lettura» is also dedicated to poetry, now on newsstands or bookable on primaedicola.it
which makes use of the contribution of another poet, Vivian Lamarque.
October 29, 2024 (modified October 29, 2024 | 8.38pm)
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Title: Celebrating Alda Merini: An Interview with Literary Expert Dr. Elena Rossi
Time.news Editor (TNE): Welcome, Dr. Elena Rossi! It’s a pleasure to have you here to discuss the newest release, Le mie canzone d’amore, dedicated to the beloved Italian poet, Alda Merini. With her passing 15 years ago, how has her legacy continued to shape the literary landscape?
Dr. Elena Rossi (ER): Thank you for having me! Alda Merini’s legacy is incredibly vibrant. Despite the passage of time, her voice resonates deeply with readers and writers alike. Her combination of raw emotion and insightful observations about life, love, and suffering connects with people on a personal level. This latest collection, edited by Daniele Piccini, promises to bring her unique perspective back into focus, serving as a reminder of her profound impact on poetry.
TNE: Merini famously said, “I always wake up fit and deform myself through others.” How does this statement encapsulate her approach to poetry and life?
ER: That quote reflects Merini’s incredible sensitivity and her willingness to confront her surroundings—both the beauty and the agony of life. She had a knack for capturing fleeting moments and emotions through her poetry. It shows us how she saw herself, not in isolation, but as part of a larger tapestry. She often used her own experiences, including her struggles and triumphs, as lenses to understand the world around her.
TNE: In your opinion, what role did her environment, particularly the city of Milan, play in her writing?
ER: Milan was not just a backdrop for Merini; it was a living character in her work. Her beloved Navigli district and the various cafes where she wrote reflect her deep connection to the city. She infused her poems with the streets, the people, and the very essence of Milan. This city inspired her observations and offered both refuge and conflict. It was where she felt the pulse of life, and that energy permeates her verses.
TNE: Alda faced significant challenges during her life, including time spent in a mental hospital. Can you talk about how her experiences with mental health informed her poetry?
ER: Absolutely. Alda’s time in the asylum profoundly shaped her perspective on life and suffering. Rather than diminishing her spirit, these experiences fueled her creativity. Merini could depict pain and healing with a remarkable mix of honesty and tenderness. Her ability to articulate her suffering helped many find solace; they felt seen and understood through her work.
TNE: She was also known for her generosity, often helping those less fortunate than herself. How does her compassion manifest in her poetry?
ER: Her compassion is evident in the way she portrays the human experience. Alda had an incredible ability to see the beauty in people, even those marginalized by society. This empathy unfolds in her poems where she often speaks to the fragility of humanity with a fervor that encourages readers to pause and reflect on their own lives. Her act of giving back, both in spirit and through her poetry, amplifies her impact and reveals her heart.
TNE: As we mark 15 years since her passing, what do you hope readers take away from Le mie canzone d’amore?
ER: I hope readers come away with a renewed sense of connection to Alda’s spirit. This collection not only highlights her poetic genius but also reminds us of the power of vulnerability and the human experience. Alda Merini’s words invite us to embrace our complexities—to laugh, cry, and find beauty in the chaos, just as she did. Her work teaches us that our shared experiences can be both a source of strength and a bridge to understanding one another.
TNE: Thank you, Dr. Rossi, for sharing your insights today. It’s clear Alda Merini’s legacy will continue to inspire both readers and writers for years to come.
ER: Thank you! I’m thrilled to discuss such an important figure in literature. Alda’s voice is timeless, and I look forward to seeing how her work continues to resonate across generations.