The renowned writer presents her ambitious poetic work this Friday, at 8 pm, at La Bancaria. Poems, watercolors and music are part of a whole where poetry “comes from outside to awaken echoes that love still maintains under the crust of silence”, as María Cristina Salatino emphasizes.
Today the music returns in Lejos de Lisboa and a few more songs , the title of this new poetic bundle by Bettina Ballarini. It is a structure in a prelude and four movements, which places us before a scheme that analogoes the development of a trio or a romantic quartet or quintet. Each of the parts retains a dominant tonality in the hands of which, little by little, the old love song returns.
Until now, the writer had found in each of her poetry books, her own inner rhythm, varied and variable in different capital moments of life. Some energetic and playful ways, others rebellious or ironic, others with soft elegiac or vibrant and passionate overtones. All set up in an introspective reflection. Throughout so many poems, his versatile personality, critical or capable of the deepest tenderness had found a place.
However, this time the music comes from outside to awaken echoes that love still maintains under the crust of silence. Far from Lisbon and some more songs has been modeled with songs and music by authors from different times and places, which bring their fundamental tones, their themes and even words and verses to a poetry that we could describe as interdiscursive, threaded in mixed codes: verbal , musical-verbal and musical, other people's and their own at the same time.
The lyrical echo of each song vibrates as in a new resonance box in each of these poems. Rare polyphonic experience that, however, flows without drowning the well-known monodic timbre of the poetic voice that the reader of Ballarini already knows. With delicate care, each title refers to the song or musical piece that serves as the starting point of the poem and shares with it tone and themes, indicating not only all the author's data, but also the website where you can listen to exactly the version that is need to complete reading comprehension.
The 'background' music, present throughout the book, allows Ballarini to lengthen his poems, generates for her new reflective spaces from which to see and see oneself. The word is no longer a brief surface, colored by the light of a dim spotlight in a typical bar in the morning twilight.
The modes of metaphorization have not changed and in them the reader hears the usual voice: his song. But they are direct, forceful words, with the force of a definite maturity that goes from the interior of the subject to the verbal configuration, proper, firm and in the full understanding of life and the aesthetic operation.
Reader, let yourself be carried away by this joint river of music, words read, voices that sing and laugh again, and cry, partners in a rare event: the poem.