Gaia Ginevra Giorgi

- Italy -

Gaia Ginevra Giorgi was born in Alessandria, in 1992. She graduated in Philosophy, studying at the University of Turin.

After years of experimentation, in literature and music, in march 2016, published by Alter Ego Edizioni her first poetic work: “Sisifo”, book and, in the same time, itinerant performance poetry voiced. Now she's studying theater at the School of Theater of Bologna “Alessandria Galante Garrone”. 

On the one hand, the most noticeable of Gaia Ginevra Giorgi's characteristics is the investigation of musicality, and, on the other hand, the mix between the rural and urban landscapes (although the contrast between the last two isn't inevitable). Thus, these aspects join together and the result is an expressionist lyricism – a style, of course, relatable to the Crepuscolars and their topoi but, at the same time, not with the most mournful tones of these authors.

Probably it could be better to accost Giorgi to a combination of writers historically closer to us, as Pavese in “La terra e la morte” (1947), Bertolucci, especially his “Viaggio d’inverno” (1971); Caproni, “Seme del piangere” (1958) but not the "Prosopopee". The theme of journey returns, that of itinerancy and geography exploration accompanied by its precious details, with a sensualistic panism. What remains to the reader is, then, an unexpected sense of experience, an amalgamation of: touch, hearing, sight, taste and olfaction. Thus a language with a recognisable coherence and cohesion, that has in itself the already mentioned echoes, all of them assimilated.

Still talking about words, I have to point out Giorgi's use of adjectives, in its better or worse. She moves adjectives, making, for the ears of an Italian speaker, a remarkable use of the sounds of their syllables. This ensures an emphasis of the poeticism of the verses, and also permits to produce metaphors and contrastive juxtapositions: "limo (loan) | dolce (sweet)", "cielo (sky) | ispido (bristly)”, though sometimes, she runs the risk to be too colorist.

I should also consider the use of ternary structures, of anaphores “io so il fiato bollente dell'asfalto | io so il sole che c'è nella terra screpolata | io so a memoria le cicatrici della luna”, “degli orizzonti bruciati | del sentore di salmastro | dei vigneti invecchiati” and the recurring use of assonances, especially in the book "Sisifo": "sabbia" and "faglia", "afa" e "trascinata"; "resto", "sollevo", "prego". Finally, I want to underline the importance of some lexical choices that she made in these verses: it isn't a bump meeting an aulic word or a contrived phrase, because Giorgi is able to camouflage them with more common expressions, as in the case of “annuvolare", especially if we consider that this word follows the unstressed form of the reflexive pronoun of the third person “s'annuvola", producing an euphony, although for someone it might sound a bit antique.

At last, another positive note: Giorgi, also when she deals with gloomy themes, loneliness, abandonment, is never mournful, on the contrary. Her vitality allows us to accost her to a list of European and American poets. Although on a different playground, although with a different linguistic result that cannot be overwritten and originates from very different choices. There is, in Giorgi's style, something of Brodskij, Bishop and Withman. The life, in other words, also in its harsh moment, can show us epiphanies of uncommon beauty and, in that way, is possible to avoid sorrows and to preserve serenity remnant.