writing unipede

This is the characterization of every text of unipede. The involuted language in poetry and in prose reflects both involuntariness and purposefulness. The methods (neologisms; collinkage; materic treatment of the texts; the cursive suture written in italics, simple involution and strati-phonization of the texts, etc.) are created by the event. To in-volve is to sculpt words on the inner world through nicks, striking shapes. It is involvement and recombination.

Language and themes are connected to their own supporting needs, nothing else. It’s the parameter of motivation, desire and style. Possession and going beyond is the law, applicable to both the texts and the project.

The entity is recreated out of cataclysm. The identities, subject to divisions and re-clotting rebalance within sutured harmonies. All this creates Character.

Unusual cognitive themes. The treatment of the scenic and narrative structures is radical. The characters precede the reality, they do not reflect roles. They are grounded in the most primary element of any society: the cops in Satiro Accanto or in Porco Randagio, the deserting soldiers in Odore della Lontra, the psychologist in Dente del Giudizio and in Vano del Genio, the pilots in Big Zero – all are psychic mediums. In any trans-novel the current knowledge is summarized through layers of equivocal murmuring, utopian; the ability to master delirium bewitches this dialectic of ours.

Reality is presented at multiple levels. Writing makes use of musical arts, computer technology. Several ways of stoning the meaning to death: fragments, noises, wrong codes are used as an optical-rhythmic instrument. In poetry, stratiphony means beyond meter and free verse: in prose, the end of the line.