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The Summer Boy is a poetry book: it represents and embodies the deepest and most hidden emotions of a man, in this case, a poet. The verses of the poems constitute the narrative. It is not the narrative that defines the poetic essence.
Starting from the title, the author suggests a fresh, youthful, and emotional landscape, which will evoke the atmospheres of early adolescence that will then flow into a life path that sees a boy becoming an adult. And this is what the book and the author also support. Becoming a real man lies in not losing that child's eye and remaining sensitive always, even if to mature, one must grit their teeth to fight and suffer. Often life makes us change; it makes us dull, sad, empty; it makes us lose the child that we need inside of us. And this is erroneous because a man can evolve his nature: a man can be both adult and child, in a broad sense, even if life is hard. And knowing how to enjoy life and appreciate it for what it truly is means maintaining that status. Speaking in these terms, the author calls upon and refers to the poetics of the fanciullino, secretly quoting the film Dead Poets Society in a poetic entanglement of love seen as a universal gesture for life and true emotions. It is so true that the last poem, Youth, is placed there because it symbolizes the ardor of youth, which represents for the author, the first hinge of the book. Even if we find another story at the beginning of the book, the primary characteristic remains youth, not seen as the classicism narrates imbalances, disorders, and malaise, but as something dreamlike.
Youth
Adoring children
No homework no apple pie
No usual friends
No ball no sweat
Tell the exceptional
Already forgotten
Exemplary jump rope
Colored chalk rules
Nose out
Broken window ball hit cool
Dense rain
March sun before Lent
Adolescence
Of scraped knees and stolen loves
Like weeping willows
Climb over a fence
First flower
Beach color
Salt taste
Memory that opens windows
Frees drawers
Down below deep
Little spot there you are
Hidden
Eating a skewer
Beauty that ancient taste
That frees happiness
Extraordinary and fascinating is the description of evil in this book of poems, which stands out in a circuit of negativity and meanings that reveal this human state as a cognitive choice, thus making evil the very evil. Thanks to the use of rhetorical figures of striking meaning and exceptional language, they burst pyramidal of climaxes and chiasms, the author reveals to us the second pillar of the book: the absolute wickedness of man, who created man, who is man himself. The author extols and identifies evil in the figure of the Eversor.
Eversor
So many too many speeches
Foolish appeals methodologies no
Solutions the same
Bottles broken at dawn
Vacant minds in fake positions
Obvious suspicions and destroyed conquests
The hands of the Eversor
On the man of the twenty-first century
Intelligent lost delinquents
Spoiled loved erred absent
Perverse adolescents
Curse spell malevolent
No abnegation
Then climax
Ineffective inconvenient atrocious
Showy ambitious
And total disintegration
I am Modern Man
Of evil pivot
Of good the Eversor
It is important to understand that the poetic vision that surrounds the writer is not despotic, thus it is interesting because the author manages with absolute discernment to let us intuit the difference between good and evil. This can be understood if one approaches with an analytical reading. I mean that the author does not condemn any life path that leads a young person to make mistakes or to make their choices, on the contrary…it is absolutely necessary to make mistakes so that one can always improve in life. In the first part of the book, evil is discussed; in the central part, life, experience, joy, and faith are talked about. In the composition Baroque Knights, Federico Di Mascio examines the modern young person and makes them the protagonist of his whole world. And this is what struck us: the artist, with his poems, revolutionizes the figure of classic poetry. It is no longer the time to be hermetic, baroque… we have had too many solipsisms. It is time for new ideas; there is a need for freshness. The story of evil and good has bored us, but Federico is just hermetic enough to open our eyes to reality and lead us to a conclusion: everyone can do whatever they desire; evil really exists; Love is not a phrase on Tumblr; Faith is real.
Baroque Knights
Timeless city
Veni vidi vici
Lions of Friday
We win trained devourers
Undisputed we fly
Night boys
Baroque knights
Drunk with beauty
Goblets and purity
We dance with skill
The night caresses us
And while we dance kiss me
When I enter invoked softly
Be silent and arm yourself dismally and love me
And of love spasms your loquacious weapons
The shadow room like mist colored vigil
In the immensity burns and wakes me
By now in you I have been
I have crossed the threshold overcome
I hurt myself
On the ground I lie injured
And the pain colors me with infinity
The third element of the book is faith. Here one touches the peaks of thought of this young man from Pescara. Recalling the Cartesian philosophy of << I think, therefore I am >> the author identifies in the question << Who are we? Where do we come from? Why do we love? >> the ability to feel part of creation, of everything surrounding it. This can be intuited in the poem Dei. Like a little boy, the poet looks up at the starry vault and engages in a dialogue with God, whom he identifies with nature, not because he does so, but because what God has created is nature itself, human beings, the universe. Thus, he poses the question to God (that is, to nature) and the answer is not there because probably God does not exist. But because the love that the poet feels in contemplating nature is innate, the answer is the answer, and it comes in reliving those moments: man is inherently a loving subject, and thus, the only speculation that makes such a doubt real is faith. An exceptional metaphor that renders man nonetheless responsible for his actions, in a certain sense, is as if God is assigning a task to man.
Dei
He up in the sky
Smiles and speaks to me
You are the Chosen One
Protector of the Gods
Great treasure of God
Guardian of nature
To answer is to relive
I beg you to prove that
I do not dream He is silent
And before above a disc
Blinds me
It's the Milky Way
Beautiful, intense, moving. This emotional notebook rises in the panorama of contemporary Italian poetry, with a refined language and without punctuation, written by a young debut poet. The book is a concept with its rhythm and its evolution. Overcoming barriers, this man who is no other than the same Summer Boy, makes his life wonderful, with scraps of dreamlike filaments that make you perceive the beauty of life. The beautiful thing is that the subject matter is reality. It is so marvelous that only a dream could surpass it. Even the poet Dante Quaglietta, in the preface, says that << Reality surpasses imagination >>. In short, dreaming is no longer necessary; we just need to adopt that different eye than we have always had. The last poems, before the already mentioned Youth, talk about space and its quantum physical laws. With an astounding allegory, the poet personifies the physical laws that regulate our reality and their mutation, at the speed with which good triumphs over evil. And it's known, in the study of matter, nothing is created and nothing is destroyed. The evolution in this case sees the protagonist in the mutation of the bad toward the good. Evil is as essential as good. The singularity, having said this, lies in the choice of good over evil.
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