With highly selective
hearing, I saw
her; in a place are certain noises and not
others. Not even a
city cooks anything like it: fire
of plastic vinegar on the legs, no, better,
at one with the heels. OH! There are so many
people in this orchestra; it regenerates
synthetic fibre and pushes up its
organs onto the world peaceful beast and the ears'
drum. The flesh is brushed
away all together as in a public
toilet, with needlessly horrible
simplicity and radio-wave dishes. We must
be patient: our tranquillity is a
celestial - or anal - fact, there is neither difference nor art
in between or culture in general. She seems
to say I'm afraid of the devil but I have to look at him, go
to his home and show him the plastic, scare him
and come back. In a
toilet - if you've the guts - can well be
the sky or a small beast with the gift of
light in its paws, scratch scratch even under
ground, where the stalks of rubber trees
sprout.
Cristina Anninoè nata ad Arezzo e vive a Roma. Del 1968 è la sua prima raccolta poetica, Non lo dire, non posso crederci (Firenze,Tèchne), dopo la quale ha pubblicato Ritratto di un amico paziente (Roma, Gabrieli 1977), Boiter (romanzo, Forlì, Forum 1979), Il cane dei miracoli (Foggia, Bastoni 1980), L'Udito Cronico (in Nuovi Poeti italiani n.3, Torino, Einaudi 1984), La casa del Loco (Madrid, Ed.Libertarias 1987), Madrid (Corpo 10, Milano 1987), Toda la ciudad al tèlefono(Siviglia, Ed. Arrayàn 1987), Gemello carnivoro (Faenza 2001), Macrolotto (in collaborazione col pittore Ronaldo Fiesoli, Prato 2002). Numerose le antologie con Garzanti, Einaudi, e le collaborazioni con riviste italiane ed estere.