Abstract

The activation of a double look in Vittorio Sereni's poetry is highlighted from the very beginning: the look from inside and the look from outside, identification and distancing that make the poet an actor. Another constant is the contrast between an overwhelming hunger for life and the appearance of life itself as a dissipation in which pain and wonder coexist. Therefore the tension in Sereni's poetry becomes an 'infinite navigation': an existential nomadism that finds expression in a personal interpretation of the art of escape. The unfolding of an image into the other, the daring approaches, the sound that precedes the image are recurring elements of a writing inspired by the cinematographic technique. But more generally, the contrast is an engine of meaning of this poetry: horizontal and vertical, movement and stillness, extended narrativity and striking crowdedness. If the dissipation seems to respond to a deep sense of "pietas", the concentration responds to a powerful request of an ethical rigour.