“Alt Hist! Alta Storia” (by Sara Ferro W.) blathers about history as if it knew it inside out, and as if from a divinatory hindsight—among afterthoughts, forward accelerations, and daring yet tightly controlled overtakes. From behind dietrologia and back again.
A classical story, very postwar, very much before the new one.
It is a bilingual poetry collection that originated in English from speculations triggered in Italian, based on inputs drawn from cultural topoi taken from the clouds of pop archetypes and from secret archives revealed only within it—be among the first to read them…
Speculative poetry mirrored in metaverses that rhyme synchronically with synchronicity, that is, in a translation (en/it) that rebounds parabolically between opposite foci, firing blanks in a peaceful whispering gallery.
A transposition of the narrative genre of uchronia into lyric form: the classical literature of alternate history—alternated and alternatively alternative—is summoned back to life by titles that speak for themselves, whether Cat and Mouse and Dog Years by Günther Grass, The Waste Land by T. S. Eliot, Infinite Jest by D. F. Wallace, The Plot Against America and Everyman by Philip Roth, The Man in the High Castle by Philip K. Dick—perhaps the same man as The Man Who Sold the World by Bowie and Nirvana, gnostically split between truth and deception. Death Can Dance, Genesis, The Doors, The Animals, Joy Division, children’s lullabies and Cold War matters, A Clockwork Orange and The Matrix recall Only God Forgives by N. W. Refn and Indiana Jones, while series such as Orange Is the New Black and The X-Files explode in Dolby Surround on a screen before which fathers of sociology, intellectuals such as Pier Paolo Pasolini, pioneers like Carl Gustav Jung, popularly occult figures like Dion Fortune, and magi such as Zoroaster make cameo appearances among the audience.
The repertoire is straight out of Breakfast of Champions. Indeed—rather yes than no—lowbrow, it winks at the highbrow, but only just enough for mutual understanding. Provided we remain semi-serious, yes indeed. Camp without being queer, yet equally devoted to lateral, divergent, impertinent thinking.
Poetry that runs in superimposition and imprints itself like a catchy refrain. It puts a flea in your ear, like a secret agent with his bug.
Texts like advertisements, an advertising-poetic manifesto, where copywriting becomes a philosophical jingle, moving through verbiage beyond verbiage and becoming song.
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“Alt Hist! Alta storia” (di Sara Ferro W.) straparla della storia, come sapendola lunga e come in retrospettiva divinatoria, tra retropensieri, accelerazioni in avanti e sorpassi audaci ma controllatissimi. Da dietro la dietrologia e ritorno.
Una storia classica, molto dopoguerra, molto prima della nuova.
È una silloge poetica bilingue originatasi in inglese da speculazioni innescate in italiano sulla base di input dati da topoi culturali tratti dai cloud degli archetipi pop e da archivi segreti solo in essa rivelati - sii tra i primi a poterli leggere…
Poesia speculativa rispecchiata in metaversi che rimano sincronicamente di sincronicità ovvero in una traduzione (en/it) che rimbalza parabolicamente fra fuochi opposti sparati a salve in una pacifica galleria dei bisbigli.
Poesia che scorre in sovrimpressione e si imprime come un tormentone. Mette la pulce nell’orecchio, come un agente segreto con il suo bug.
Testi come pubblicitari, una pubblicità manifesto poetico, dove il copywriting diventa jingle filosofico, andando attraverso il parolame oltre il parolame e diventando canzone.
