Il chiarore che deforma – Processi deformanti nella poetica di Amelia Rosselli

The poetry of Amelia Rosselli is deeply phenomenological and stems from a tumultuous reality, a state in constant becoming. The chaos of the external reality is interiorized, and subsequently possessed, through a process of deforming filtration. This paper begins by investigating phenomenological implications in the poetics of Amelia Rosselli, which developed in line with similar approaches both in Italy, in the theories of the Gruppo ‘63, and abroad, in an essay written by Charles Olson. Art is deprived, once and for all, of its status of truthfulness, rather becoming an ongoing process, a cautious approach to the real. In particular, in Rosselli’s work the deforming mechanism becomes essential to interiorize and "tame" the outside world. The real is subjected to time-space warping and bending according to the laws of non-Euclidean geometry and topological transformations. The result, albeit distorted, proves conceptually equivalent to the original material. The deforming representation, therefore, corresponds to a phenomenological filtration process that generates an analogous version of reality, despite its form appearing distorted. Brief textual analyses show how the deforming tension is used on the one hand to possess and finally overcome past traumatic experience, and on the other as a tool to infiltrate the patriarchal literary canon. The image of the father is offered as an emblematic figure of overcoming: the biological father, who caused the author’s childhood trauma, but also the fathers of the literary tradition (Rimbaud, Scipione, Dante, Montale) whose verses are stolen and deformed, distorted into a speech which is now finally tailored for women.