La Differenza
Massimo Marino
Rooms at the bottom
There are toys, plastic flowers, apparitions through room escapes, crosses worn on a path of liberation that resembles a passion by the protagonist, small, helpless, with a voice as thick as honey, full of tremors and small certainties, with the vibrant and slightly’ hoarse heat of someone who knows, despite their fear, where to go. Among the abandoned saints, in triumphs of sandwiches, with their mandibles in eternal movement, there is the ever-eating-all Saint Trippone (Saint Apapucius Pappagorgia in the original). And there are also pagan gods, such as Eros, who mortally wounds Caperucita. Only an old Madonna, played by Francesco, a loving and ferocious wolf in the sadomasochistic guise of a young bagascia, will be able to treat her, falling, still trembling with that fleeting beast that is love, into the woods of the initial nightmare. While the poet's words speak of dreams that must not die and entrust the custody of this champion of imagination and of a threatened and vanished childhood to a hare and a wolf (again), the authors' imagination, more wickedly, insinuates to us the idea that no consolation is possible in that treacherous, deadly forest that is life.
