Книги автора: Diego Maenza

«Христианство, передаваемое через жизни священника и монаха, две истории, через которые проходят секреты, мучения от того, что герои не узнают себя в своих „грехах“, отказом видеть реальность, которая каждый раз с еще большей силой показывает им, что они слабы перед признанием своих неоднозначных решений. Персонажи являются лишь фигурами, которые были размещены в сюжете для того, чтобы донести до нас неизменное и возмутительное послание: кто-то всегда есть над другими. Кто-то, кто выносит суждения исходя из своих личных интересов.» АЛЕКСИС КУСМЕ, писатель «Структура молитвы» разворачивается в среде религиозности и образованности, и так же, как на это провоцирует картина Сад наслаждений, художника Иеронима Босха, главный герой, являясь при этом, священником, пытается снова понять свои действия и действия других людей, от начала до конца времен» ВЕРОНИКА ФАЛЬКОНИ, писатель. Священник, терзаемый своими инстинктами. Является ли это бессмысленной борьбой против демона или испытанием небесным? Беременная послушница. Является ли это нарушением правил или чудом в век скептицизма? Парад знаменательных персонажей, которые защищают основы доктрины и других, влачащих жалкое существование, жизнь которых ставит под вопрос и подкашивает столпы теологии. Рассказ ведется с разных точек зрения, посредством дерзкой формальности, «Структура молитвы» нас погружает в пучину страстей, в которой моральное разложение каждого героя приведет к искуплению, которое не все смогут получить. Религиозные добродетели и мистерии веры объединяются и дают начало крестному ходу, который переходя со страницы на страницу проходит через семь смертных грехов, представление в виде бестиария, где каждому греху соответствует демон: Асмодей, похоть, Бельфегор, лень, Вельзевул, чревоугодие, Амон, гнев, Левиафан, месть, Мамон, жадность и Люцифер, гордыня. Несмотря на черствость ее строк, это вдохновляющая книга. PUBLISHER: TEKTIME

«Христианство, передаваемое через жизни священника и монаха, две истории, через которые проходят секреты, мучения от того, что герои не узнают себя в своих „грехах“, отказом видеть реальность, которая каждый раз с еще большей силой показывает им, что они слабы перед признанием своих неоднозначных решений. Персонажи являются лишь фигурами, которые были размещены в сюжете для того, чтобы донести до нас неизменное и возмутительное послание: кто-то всегда есть над другими. Кто-то, кто выносит суждения исходя из своих личных интересов.» АЛЕКСИС КУСМЕ, писатель «Структура молитвы» разворачивается в среде религиозности и образованности, и так же, как на это провоцирует картина Сад наслаждений, художника Иеронима Босха, главный герой, являясь при этом, священником, пытается снова понять свои действия и действия других людей, от начала до конца времен» ВЕРОНИКА ФАЛЬКОНИ, писатель. Священник, терзаемый своими инстинктами. Является ли это бессмысленной борьбой против демона или испытанием небесным? Беременная послушница. Является ли это нарушением правил или чудом в век скептицизма? Парад знаменательных персонажей, которые защищают основы доктрины и других, влачащих жалкое существование, жизнь которых ставит под вопрос и подкашивает столпы теологии. Рассказ ведется с разных точек зрения, посредством дерзкой формальности, «Структура молитвы» нас погружает в пучину страстей, в которой моральное разложение каждого героя приведет к искуплению, которое не все смогут получить. Религиозные добродетели и мистерии веры объединяются и дают начало крестному ходу, который переходя со страницы на страницу проходит через семь смертных грехов, представление в виде бестиария, где каждому греху соответствует демон: Асмодей, похоть, Бельфегор, лень, Вельзевул, чревоугодие, Амон, гнев, Левиафан, месть, Мамон, жадность и Люцифер, гордыня. Несмотря на черствость ее строк, это вдохновляющая книга. PUBLISHER: TEKTIME

ENtities is a selection of the five best short stories from BegottEN and the five best stories from IdenTITIES. It includes the following: Family History, The Toad Who Was a Poet, The Cave, The Man in the Mirror, Dawn, The Dream, Inner Monsters (or Fable in One Act), The Night Walk, The Avaricious Man, Ants. “Diego Maenza writes with certainty. Beings and situations that refer us to monsters located in those twisted paths of imagination and reality. These stories are tremendously deep because of the philosophical touches, surprising because of the subject matter and unexpected because of the endings”. (Carlos Ramos, Mexican writer) “His stories convey metaphysical ideas, they play with time and space; they try to make the minimum transcendent, the same nothing. They relocate us, they put us in different territories, they offer us the glances of lonely beings or human beings who must face destinies, even if their missions are not heroic, but only brush against a darkness that can break any spirit ”. (Iván Rodrigo Mendizábal, Ecuadorian writer and critic)

EloIsa, an old woman who in her youth was brutally sexually abused by three masked men, remembers on the last day of her life the stark story that marked her. She tells it to one of the nurses in the sanatorium in which she is dying while allowing her to scrutinize a ringed booklet that contains printed all the letters that she exchanged in his youth with Abelard, the only love of her life. Maenza reflects on the psychological, ethical and philosophical aspects of western love and weaves a sweet and intelligent discourse where time, love rites and erotic presence are subtly addressed. It includes a singular vision of writing and a very particular and symbolic Theory of Affection that is used in its analysis of the metaphysics of colors, the zodiacs, the sensations coming from the senses, the imaginary of the alchemist beasts, the classic elements and the arcana of the Tarot. In an age where relationships are made with the dizzying modernity and liquid love swarms (according to Bauman), ”All love letters are ridiculous” claims that secular ritual of love correspondences, increasingly in decline, and he apologizes for the slowness that Kundera claims for romances. ”All love letters are ridiculous” is constructed as a parodic narration of romance novels, but at the same time it is a modern dissertation about love coupled with a story of affection and an ending of tragedy that brings taboo themes like abuse, reification of women and contemporary violence.

Over the course of a year, I undertook the task of working with twenty cartoons that stimulated my imagination. I pretended to reverse the traditional process of illustrating texts. I ”texted” the illustrations daily. The initial objective was to take the characters in a comical way, but they had a lot to tell me. It was the characters who whispered the words to me. They always had a life of their own and I couldn't dominate them anymore. All the poems, stories and monologues, in a way concatenated, retain a global vision although at first glance they appear as disconnected flashes in an exhibition of fireworks. This book aims to be a celebration of humor and irony, but at the same time it aspires to become a rare invitation to reflection and strangeness. Over the course of a year, I undertook the task of working with twenty cartoons that stimulated my imagination. I pretended to reverse the traditional process of illustrating texts. I ”texted” the illustrations daily. Like ”action painting”, I could have called it ”literature in action”, but it would have been to distort the nature of the project, which was a work in progress, a dynamic entity, an evolving process, a writing on the go, a progressive writing. I never had a predetermined plan and the categorization was later, but the invocations of the four classic elements influenced underground in the structure of the work.The initial objective was to take the characters in a comical way, but they had a lot to tell me. It was the characters who whispered the words to me. They always had a life of their own and I couldn't dominate them anymore. All the poems, stories and monologues, in a way concatenated, retain a global vision although at first glance they appear as disconnected flashes in an exhibition of fireworks. This book aims to be a celebration of humor and irony, but at the same time it aspires to become a rare invitation to reflection and strangeness.

Urban myths and legends from all over America are condensed in this collection. Through its pages various spectra pass, as the Chupacabra invokes and enumerates in one of the poems: “Creatures of the night and the sun. Covered Lady, Muqui, Yasy Yeteré, Alligator Man, Kharisiri, Whistler, Widow, Telesita, Curupira, Tata Elf, Cadejo, Just Judge of the Night, Witch Monkey, Holy Death, Demon of Dover, Wendigo, Girl with a scarf, The Crying Girl. Creatures of the underworld, let us unite in this new era in which humanity has degenerated and is the scum of the universe”.

”Christianity, from a priest and a nun, two stories crossed by the secret, by the suffering of not recognizing themselves in their ”sins”, in denying a reality that is telling them, more and more strongly, that they are weak before the acceptance of their wrong decisions. The characters are just mere figures placed in the plot to delve into a constant and disturbing message: someone is always on top of someone else; someone who sentences with ideas conditioned to their benefit”. ALEXIS CUZME, writer ” Structure of prayer is developed in an environment of religiosity and erudition, because in relation to the famous painting The Garden of Delights, by Hieronymus Bosch, the protagonist – who is a priest – interprets his own behavior and that of other human beings, from the beginning to the end of time”. VERÓNICA FALCONÍ, writer A priest tormented by his instincts. Is this a pointless fight against the devil or a test of the heavens? A pregnant novice. Is it a transgression of the rules or a miracle in times of skepticism? A parade of exalted characters who defend the foundations of doctrine, and others, from miserable existences, whose lives call into question the foundations that support theology. Narrated from different points of view and approached through formal and thematic daring, Structure of Prayer immerses us in dense dramas where the spiritual decomposition of each of the protagonists will shorten the space for redemption, which not all will reach. The theological virtues and the mysteries of faith merge to give rise to the extensive Way of the Cross that circulates throughout these pages through the seven capital sins that are presented in the form of a bestiary, with each demon as a symbol of excess: Asmodeus, lust; Belfegor, laziness; Beelzebub, gluttony; Amon, anger; Leviathan, revenge; Mammon, greed; and, Lucifer, pride. Despite the crudeness of its lines, this novel is a spiritual book.

ENtities is a selection of the five best short stories from BegottEN and the five best stories from IdenTITIES. It includes the following: Family History, The Toad Who Was a Poet, The Cave, The Man in the Mirror, Dawn, The Dream, Inner Monsters (or Fable in One Act), The Night Walk, The Avaricious Man, Ants. “Diego Maenza writes with certainty. Beings and situations that refer us to monsters located in those twisted paths of imagination and reality. These stories are tremendously deep because of the philosophical touches, surprising because of the subject matter and unexpected because of the endings”. (Carlos Ramos, Mexican writer) “His stories convey metaphysical ideas, they play with time and space; they try to make the minimum transcendent, the same nothing. They relocate us, they put us in different territories, they offer us the glances of lonely beings or human beings who must face destinies, even if their missions are not heroic, but only brush against a darkness that can break any spirit ”. (Iván Rodrigo Mendizábal, Ecuadorian writer and critic)

EloIsa, an old woman who in her youth was brutally sexually abused by three masked men, remembers on the last day of her life the stark story that marked her. She tells it to one of the nurses in the sanatorium in which she is dying while allowing her to scrutinize a ringed booklet that contains printed all the letters that she exchanged in his youth with Abelard, the only love of her life. Maenza reflects on the psychological, ethical and philosophical aspects of western love and weaves a sweet and intelligent discourse where time, love rites and erotic presence are subtly addressed. It includes a singular vision of writing and a very particular and symbolic Theory of Affection that is used in its analysis of the metaphysics of colors, the zodiacs, the sensations coming from the senses, the imaginary of the alchemist beasts, the classic elements and the arcana of the Tarot. In an age where relationships are made with the dizzying modernity and liquid love swarms (according to Bauman), ”All love letters are ridiculous” claims that secular ritual of love correspondences, increasingly in decline, and he apologizes for the slowness that Kundera claims for romances. ”All love letters are ridiculous” is constructed as a parodic narration of romance novels, but at the same time it is a modern dissertation about love coupled with a story of affection and an ending of tragedy that brings taboo themes like abuse, reification of women and contemporary violence.

Urban myths and legends from all over America are condensed in this collection. Through its pages various spectra pass, as the Chupacabra invokes and enumerates in one of the poems: “Creatures of the night and the sun. Covered Lady, Muqui, Yasy Yeteré, Alligator Man, Kharisiri, Whistler, Widow, Telesita, Curupira, Tata Elf, Cadejo, Just Judge of the Night, Witch Monkey, Holy Death, Demon of Dover, Wendigo, Girl with a scarf, The Crying Girl. Creatures of the underworld, let us unite in this new era in which humanity has degenerated and is the scum of the universe”.

Urban myths and legends from all over America are condensed in this collection. Through its pages various spectra pass, as the Chupacabra invokes and enumerates in one of the poems: “Creatures of the night and the sun. Covered Lady, Muqui, Yasy Yeteré, Alligator Man, Kharisiri, Whistler, Widow, Telesita, Curupira, Tata Elf, Cadejo, Just Judge of the Night, Witch Monkey, Holy Death, Demon of Dover, Wendigo, Girl with a scarf, The Crying Girl. Creatures of the underworld, let us unite in this new era in which humanity has degenerated and is the scum of the universe”.

Over the course of a year, I undertook the task of working with twenty cartoons that stimulated my imagination. I pretended to reverse the traditional process of illustrating texts. I ”texted” the illustrations daily. The initial objective was to take the characters in a comical way, but they had a lot to tell me. It was the characters who whispered the words to me. They always had a life of their own and I couldn't dominate them anymore. All the poems, stories and monologues, in a way concatenated, retain a global vision although at first glance they appear as disconnected flashes in an exhibition of fireworks. This book aims to be a celebration of humor and irony, but at the same time it aspires to become a rare invitation to reflection and strangeness. Over the course of a year, I undertook the task of working with twenty cartoons that stimulated my imagination. I pretended to reverse the traditional process of illustrating texts. I ”texted” the illustrations daily. Like ”action painting”, I could have called it ”literature in action”, but it would have been to distort the nature of the project, which was a work in progress, a dynamic entity, an evolving process, a writing on the go, a progressive writing. I never had a predetermined plan and the categorization was later, but the invocations of the four classic elements influenced underground in the structure of the work.The initial objective was to take the characters in a comical way, but they had a lot to tell me. It was the characters who whispered the words to me. They always had a life of their own and I couldn't dominate them anymore. All the poems, stories and monologues, in a way concatenated, retain a global vision although at first glance they appear as disconnected flashes in an exhibition of fireworks. This book aims to be a celebration of humor and irony, but at the same time it aspires to become a rare invitation to reflection and strangeness.

”Christianity, from a priest and a nun, two stories crossed by the secret, by the suffering of not recognizing themselves in their ”sins”, in denying a reality that is telling them, more and more strongly, that they are weak before the acceptance of their wrong decisions. The characters are just mere figures placed in the plot to delve into a constant and disturbing message: someone is always on top of someone else; someone who sentences with ideas conditioned to their benefit”. ALEXIS CUZME, writer ” Structure of prayer is developed in an environment of religiosity and erudition, because in relation to the famous painting The Garden of Delights, by Hieronymus Bosch, the protagonist – who is a priest – interprets his own behavior and that of other human beings, from the beginning to the end of time”. VERÓNICA FALCONÍ, writer A priest tormented by his instincts. Is this a pointless fight against the devil or a test of the heavens? A pregnant novice. Is it a transgression of the rules or a miracle in times of skepticism? A parade of exalted characters who defend the foundations of doctrine, and others, from miserable existences, whose lives call into question the foundations that support theology. Narrated from different points of view and approached through formal and thematic daring, Structure of Prayer immerses us in dense dramas where the spiritual decomposition of each of the protagonists will shorten the space for redemption, which not all will reach. The theological virtues and the mysteries of faith merge to give rise to the extensive Way of the Cross that circulates throughout these pages through the seven capital sins that are presented in the form of a bestiary, with each demon as a symbol of excess: Asmodeus, lust; Belfegor, laziness; Beelzebub, gluttony; Amon, anger; Leviathan, revenge; Mammon, greed; and, Lucifer, pride. Despite the crudeness of its lines, this novel is a spiritual book.

ENtità è una selezione dei 5 migliori racconti di ENigmi e delle 5 migliori storie di IdenTITÀ. È formato dai seguenti racconti: Storia di famiglia, Il rospo che era un poeta, La caverna, L'uomo davanti allo specchio, Alba, Sogno, I mostri interiori (o favola in un atto), Passeggiata notturna, L'avaroFormiche “Diego Maenza scrive con certezza. Esseri e situazioni che ci rimandano a mostri situati su quei sentieri contorti dell'immaginazione e della realtà. Queste storie sono tremendamente profonde per le sfumature filosofiche, sorprendenti per l'argomento e inopinate per i finali”. (Carlos Ramos, scrittore messicano) “I suoi racconti trasmettono idee metafisiche, giocano con il tempo e lo spazio; cercano di rendere trascendente il minimo, lo stesso niente. Ci traslano, ci collocano in territori diversi, ci offrono gli sguardi di esseri solitari o di esseri umani che devono affrontare il fato, anche se le loro missioni non sono eroiche, ma sfiorano solo i lati più oscuri che possono separarsi da qualsiasi spirito”. (Iván Rodrigo Mendizábal, scrittore e critico ecuadoriano)

ENtités est un recueil des cinq meilleurs récits d'ENgeances et des 5 meilleurs contes d'IdenTITÉS. Il se compose des histoires suivantes : Histoire de famille, Le crapaud qui fut poète, La caverne, L’homme devant la glace, Petit matin, Rêve, Les monstres intérieurs (ou fable en un acte), Promenade nocturne, L’avare, Fourmis. ”C'est à partir de la certitude que Diego Maenza écrit. Ses personnages et ses situations évoquent des engeances logées dans les sentiers retors de l'imagination et de la réalité. Ses récits sont formidablement profonds, avec leur touche philosophique, étonnants par leur sujet, et inattendus par leur chute” (Carlos Ramos, écrivain mexicain) ”Ses contes transmettent des idées métaphysiques, jouent avec le temps et l'espace. Ils visent à rendre l'infime, le néant même, transcendant. Ils nous délocalisent, nous placent sur des territoires autres, nous proposent le regard d'êtres solitaires ou d'êtres humains qui doivent faire face à leur destin, même si leur mission n'a rien d'héroïque mais consiste juste à effleurer les airs les plus sombres, ceux qui peuvent briser n'importe quel esprit”. (Iván Rodrigo Mendizábal, écrivain et critique équatorien)

ENtidades é uma seleção dos 5 melhores relatos de ENgendrados e dos 5 melhores contos de IdenTIDADES. Está composto pelas seguintes histórias: História familiar, O sapo que foi poeta, A caverna, O homem diante do espelho, Madrugada, Devaneios, Os monstros interiores (ou fábula de um ato), Caminhada noturna, O avarento. ”Diego Maenza escreve com precisão. Seres e situações que nos remetem à monstros localizados nesses caminhos tortuosos da imaginação e da realidade. Estes relatos são tremendamente profundos por seus toques filosóficos, surpreendentes pela temática e inesperados por seus finais”. (Carlos Ramos, escritor mexicano) ”Seus contos transmitem ideias metafísicas, brincam com o tempo e espaço; tratam de tornar transcendente o mínimo e até mesmo o nada. Nos deslocam, nos colocam em territórios distintos, nos propõem os olhares de seres solitários ou de seres humanos que devem enfrentar destinos, ainda que suas missões não sejam heroicas, atravessando os ares mais sombrios que podem quebrar qualquer espírito”. (Iván Rodrigo Mendizábal, escritor e crítico equatoriano)

« Le christianisme d’un prêtre et celui d’une religieuse, deux histoires criblées par le secret et par la souffrance de ne pas se reconnaître dans leurs “péchés”. Ils refusent une réalité qui montre, de plus en plus clairement, leur faiblesse face à l’acceptation de leurs malencontreuses décisions. Les personnages ne sont que des figurines mises en scènes pour dévoiler un message constant et dérangeant. Il y a toujours quelqu’un au-dessus; quelqu’un qui condamne avec des idées conditionnées à son avantage ». ALEXIS CUZME, écrivain. « Architecture de la prière se développe dans un environnement de religiosité et d’érudition. En effet, sur le thème du célèbre tableau Le Jardin des délices, de Jérôme Bosch, le protagoniste – un prêtre – réinterprète son propre comportement et celui des autres êtres humains, du début à la fin des temps ». VERÓNICA FALCONÍ, écrivain. Un prêtre tourmenté par ses instincts. S’agit-il d’une lutte insensée contre le diable ou d’une mise à l’épreuve du Ciel? Une novice enceinte. S’agit-il d’une transgression des normes ou d’un miracle en période de scepticisme? Un défilé de personnages exaltés qui défendent les fondements de la doctrine, et d’autres, dont la misérable existence remet en cause les fondements de base de la théologie. Rapportée sous différents points de vue et abordée par l’audace formelle et thématique, Architecture de la prière nous plonge dans des drames intenses. La décomposition spirituelle de chacun des protagonistes raccourcira l’espace de rédemption, que tous n’atteindront pas. Les vertus théologiques et les mystères de la foi se confondent pour donner naissance au long Chemin de croix parcouru au fil des pages à travers les sept péchés capitaux présentés comme un bestiaire. Chaque démon symbolise un excès : Asmodée, la luxure; Belphégor, la paresse; Belzébuth, la gourmandise; Amon, la colère; Léviathan, la vengeance; Mammon, la cupidité; et, Lucifer, la fierté. Malgré la crudité de ses lignes, ce roman est un livre spirituel.

Eloisa, una donna anziana che in gioventù fu vittima di un brutale abuso sessuale da parte di tre uomini, ricorda nell'ultimo giorno della sua vita questa cruda storia che la segnò. La racconta a una delle infermiere della clinica nel quale si trova agonizzante, mentre sfoglia un quaderno che contiene tutte le lettere che scambiò in giovane età con Abelardo, l'unico amore della sua vita. Maenza riflette sugli aspetti psicologici, etici e filosofici dell'amore occidentale e compone un discorso mieloso e intelligente in cui il tempo, i riti degli amanti e la presenza erotica vengono affrontati in modo sottile. Include una visione singolare della scrittura e una particolare e simbolica Teoria degli affetti, che usa nell'analisi della metafisica dei colori, lo zodiaco, le percezioni sensoriali, l'immaginario delle bestie alchimiste, gli elementi classici e gli arcani dei Tarocchi. In un epoca in cui le relazioni si susseguono a causa della vertiginosa modernità e in cui pullulano gli amori liquidi (secondo Bauman), ”Tutte le lettere d'amore sono ridicole” rivendica il rituale laico della corrispondenza amorosa, sempre più in decadenza, evadendo da quella lentezza che Kundera attribuisce ai romanzi sentimentali. ”Tutte le lettere d'amore sono ridicole” è costruito come una narrazione paradossale dei testi romantici ma è, allo stesso tempo, una dissertazione moderna sull'amore, unita a una storia d'affetto e a un tragico finale che fa riflettere su temi considerati dei tabù come l'abuso, la reificazione della donna e la violenza contemporanea.

Eloísa, uma idosa que em sua juventude foi brutalmente abusada sexualmente por três homens mascarados, lembra, no último dia de sua vida, a história gritante que a marcou. Ela a conta a uma das enfermeiras do hospital em que agoniza, enquanto permite que esquadrinhe um livreto em espiral que contém impressas todas as cartas que trocou em sua juventude com Abelardo, o único amor de sua vida. Maenza reflete sobre os aspectos psicológicos, éticos e filosóficos do amor ocidental e tece um discurso doce e inteligente em que tempo, ritos de amor e presença erótica são abordados com sutileza. Inclui uma visão singular da escrita e uma Teoria dos Afetos muito particular e simbólica, usada em sua análise da metafísica das cores, dos sígnos, das sensações oriundas dos sentidos, do imaginário das bestas alquimistas, dos elementos clássicos e dos arcanos do Tarô. Numa época em que os relacionamentos se sucedem com a rapidez da modernidade e pululam os amores líquidos (segundo Bauman), ”Todas as cartas de amor são ridículas” reivindica esse rito laico das correspondência amorosas, cada vez mais em declínio, e pede desculpas por essa lentidão que Kundera reivindica para os romances. ”Todas as cartas de amor são ridículas” é construído como uma narração paródica dos romances, mas é, ao mesmo tempo, uma dissertação moderna sobre o amor e uma história de afetos com um final de tragédia que traz temas tabus como abuso, coisificação da mulher e violência contemporânea.

Nell'arco di un anno mi sono impegnato a lavorare con venti caricature che hanno stimolato la mia immaginazione. Intendevo invertire il tradizionale processo di illustrazione dei testi. Ho lavorato sulle illustrazioni ogni giorno. L'obiettivo iniziale era quello di creare dei personaggi comici, ma avevano molto da dirmi. Sono stati i personaggi a sussurrarmi le parole. Hanno sempre avuto una vita propria e non potevo più controllarli. Tutte le poesie, i racconti e i monologhi, in un certo senso, sono concatenati, mantengono una visione globale anche se a prima vista appaiono come lampi non collegati in uno spettacolo pirotecnico. Questo libro vuole essere una celebrazione dell'umorismo e dell'ironia, ma allo stesso tempo aspira ad essere un raro invito alla riflessione e alla stranezza. Nell'arco di un anno mi sono impegnato a lavorare con caricature che hanno stimolato la mia immaginazione. Intendevo invertire il tradizionale processo di illustrazione dei testi. Ho lavorati sulle illustrazioni ogni giorno. Come la pittura d'azione, avrei potuto chiamarla ”letteratura in azione”, ma ciò avrebbe snaturato la natura del progetto, che era un work in progress, un'entità dinamica, un processo in evoluzione, una scrittura al volo, progressiva. Non ho mai avuto un piano predeterminato e la categorizzazione è stata successiva, ma le invocazioni ai quattro elementi classici hanno influenzato in modo sostanziale la struttura dell'opera. L'obiettivo iniziale era quello di creare dei personaggi comici, ma avevano molto da dirmi. Sono stati i personaggi a sussurrarmi le parole. Hanno sempre avuto una vita propria e non sono più riuscito a padroneggiarli. Tutte le poesie, i racconti e i monologhi, in un certo senso, sono concatenati, mantengono una visione globale anche se a prima vista appaiono come lampi non collegati in uno spettacolo pirotecnico. Questo libro vuole essere una celebrazione dell'umorismo e dell'ironia, ma allo stesso tempo aspira ad essere un raro invito alla riflessione e alla stranezza.