IVAN POZZONI – ITALY

Ivan Pozzoni was born in Monza in 1976. He introduced Law and Literature in Italy and the publication of essays on Italian philosophers and on the ethics and juridical theory of the ancient world; He collaborated with several Italian and international magazines. Between 2007 and 2018, different versions of the books were published: Underground and Eiserva Indiana, with A&B Editrice, Versi Introversi, Mostri, Galata morente, Carmina non dant damen, Scarti di magazzino, Here the Austrians are more severe than the Bourbons, Cherchez the troika. et The Invective Disease with Limina Mentis,Lame da rasoi, with Joker, Il Guastatore, with Cleup, Patroclo non deve morire, with deComporre Edizioni. He was the founder and director of the literary magazine Il Guastatore – «neon»-avant-garde notebooks; he was the founder and director of the literary magazine L’Arrivista; he is the editor and chef of the international philosophical magazine Información Filosófica; he is, or has been, creator of the series Esprit (Limina Mentis), Nidaba (Gilgamesh Edizioni) and Fuzzy (deComporre). It contains a fortnight of autogérées socialistes edition houses. He wrote 150 volumes, wrote 1000 essays, founded an avant-garde movement (NéoN-avant-gardisme, approved by Zygmunt Bauman), with a millier of movements, and wrote an Anti-manifesto NéoN-Avant-gardiste. This is mentioned in the main university manuals of literature history, philosophical history and in the main volumes of literary criticism. His book La malattia invettiva wins Raduga, mention of the critique of Montano et Strega. He is included in the Atlas of contemporary Italian poets of the University of Bologne and figures à plusieurs reprized in the great international literature review of Gradiva. His verses are translated into French, English and Spanish. In 2024, after six years of total retrait of academic studies, he return to the Italian artistic world and melts the NSEAE Kolektivne (New socio/ethno/aesthetic anthropology).

THE DISEASE INVECTIVE

To discover the causes of my dysenteric experience at every event,
they poured ink, a huge mistake, into the cannula of the gastroscope,
the medical pathologists, and diagnosed me with invective disease,
associated with literary reflux, surging down my oesophagus and oxidising my gums.

When, as a cynical dog with a collar, sniffing out the smell of bad morals or the stench of egopathy,
I can’t tolerate the other-worlder, a victim of excessive xenophobia,
I forget all forms of fair play, sink into the fog of the Berserker,
furious and black as a Zulu forced to put up with an Afrikaner,
speak Roma to Sinti, Sinti to Gypsy, Gypsy to Romanian, Romanian to Roma
and I can’t stop myself shouting Hitler Aleikhem Shalom.

If I don’t digest you, I’ll hear ‘hou, hou, hou’, like Leonidas at Thermopylae,
identifying the worms encircling me, hence the rise in my eosinophils,
I emit excessive hydrochloric acid and stop disinhibiting the proton pump
with the despair of Mazinger rejected by the bionic woman,
spitting hectolitres of cyanide in my face with the skill of Naja nigricollis
and it annoys me to be condemned to do anything.

To understand the ethos of my life in need of ataraxia,
the barbarian meets the citizen in the chôra of anti-‘poetry’,
all of you, no one excluded, will be forced to venture as a group
in the labyrinthine meanderings of my invective.

COLOGNO’S AMNESIAC

I visualised the boxes hidden in your USB drive,
a sort of will, you didn’t have Alzheimer’s yet,
having asked me to go and get them for you
before I wasn’t able to hear and fly.

What was there of your twenties bent over a doctoral table,
anxiously looking for a permanent contract,
the hopes, smiles and sacrifices of a soul in Adidas blue,
aware of fighting lost battles like the tenth MAS Flotilla.

What there was of your thirty yearslost in the corridors of a warehouse,
looking for alter-egos busy in sadistic hide-and-seek,
the enveloped bonuses, the career, with the desire not to end up broke
absorbed in not being led into the world like an autistic.

What there was of your years of collisions, between know-it-alls and lilliputians,
in the Flavio amphitheatre of web-hoppers with mouths like urinals,
where, to stay on the network, it’s not enough to be a famous retiarius
ending up on the walls of Domus Tiberiana like Ianuarius.

To find out who you are not, you have to noscere te ipsum on a digital medium
homothetically adjusting your shape with the misfortune of a fractal,
it’s not enough, as in Grimm, to consult the mirror of your desires:
Berlusca couldn’t walk on water, you weren’t a carpenter at all.

HOTEL ACAPULCO

My emaciated hands continued to write,
turning each voice of death into paper,
That he lefts no will,
forgetting to look after
what everyone defines as the normal business
of every human being: office, home, family,
the ideal, at last, of a regular life.

Abandoned, back in 2026, any defense
of a permanent contract,
labelled as unbalanced,
i’m locked up in the centre of Milan,
Hotel Acapulco, a decrepit hotel,
calling upon the dreams of the marginalized,
exhausting a lifetime’s savings
in magazines and meagre meals.

When the Carabinieri burst
into the decrepit room of the Hotel Acapulco
and find yet another dead man without a will,
who will tell the ordinary story
of an old man who lived windbreak?

BALLAD OF THE NON-EXISTENT

I could try to tell you
with the sound of my keyboard
how Baasima died of leprosy
without ever reaching the border,
or how the Armenian Meroujan
under a flutter of half-moons
felt the air in his eyes vanish
thrown into a mass grave;
Charlee, who moved to Brisbane
in search of a better world,
ends the journey
in the mouth of an alligator,
or Aurelio, named Bruna
who, after eight months in hospital
died of AIDS contracted
to hit a ring road.
Nobody will remember Yehoudith,
her lips carmine red,
erased by drinking toxic poisons
in an extermination camp,
or Eerikki, with his red beard,
defeated by the turbulence of the waves,
who sleeps, scoured by orcas,
on the bottom of some sea;
the head of Sandrine, Duchess
of Burgundy heard the rumour of the feast
as it fell from the blade of a guillotine
into a basket
and Daisuke, modern samurai,
counted the revolutions of a plane’s engine
transhumanizing a kamikaze gesture into harakiri.
I could go on and on
in the stifling heat of a summer night
how Iris and Anthia, deformed Spartan children
were abandoned,
or how Deendayal died of deprivation
attributable to the single crime
of living the life of an outcast
without ever having rebelled;
Ituha, an Indian girl,
threatened with a knife,
who ends up dancing with Manitou
in the anteroom of a brothel
and Luther, born in Lancashire
freed from the profession of beggar
and forced to die by His Britannic Majesty
in the coal mines.

Who will remember Itzayana
and her family massacred
in a village on the outskirts of Mexico
by Carranza’s retreating army,
and what of Idris, the African rebel,
stunned by shocks and burns
while untamed by colonial domination,
he tried to steal an ammunition truck;
Shahdi flew high into the sky
above the flagpoles of the Green Revolution,
landing in Tehran with his wings torn apart
by a cannon shot,
and Tikhomir, a Chechen bricklayer,
that fell among the indifferent faces
to the ground from the roof of Lenin’s Mausoleum,
without comment.

From objects of narrative
fractured into fragments of non-existence
transmits distant sounds
of resistance.

THE BALLAD OF PEGGY AND PEDRO

The ballad of Peggy and Pedro barked out by the punkbestials
of the Garibaldi Bridge, with a mixture of hatred and despair,
teaches us the intimate relationship between geometry and love,
to love as if we were maths surrounded by stray dogs.

Peggy you were drunk, normal mood,
in the slums along the bed of the Tiber
and alcohol, on August evenings, doesn’t warm you up,
clouding every sense in annihilating dreams,
transforming every chewed-up sentence into a gunfight in the back
on armour dissolved by the summer heat.
Lying on the edges of the bridge’s ledges,
among the drop-outs of the Rome open city,
you opened your heart to the gratuitous insult of Pedro,
your lover, and toppled over, falling into the void,
drawing gravitational trajectories from the sky to the cement.

Pedro wasn’t drunk, a day’s journey away,
you weren’t drunk, abnormal state of mind,
in the slums along the bed of the Tiber,
or in the empty parties of Milan’s movida,
with the intention of explaining to dogs and tramps
a curious lesson of non-Euclidean geometry.
Mounted on the edge of the bridge,
in the apathetic indifference of your distracted pupils,
you jumped, in the same trajectory of love,
along the same fatal path as your Peggy,
landing on the cement at the same instant.

The punkbestials of the Garibaldi Bridge, cleared by the local authority,
will spread a surreal lesson to every slum in the world
centred on the astonishing idea
that love is a matter of non-Euclidean geometry.

Prepared Angela Kosta Executive Director of MIRIADE Magazine, Academic, journalist, writer, poet, essayist, literary critic, editor, translator, promoter