Domenico Brancale

Italy

Domenico Brancale (Sant’Arcangelo, 1976), poet and performer. He has written: Cani e Porci (Ripostes, 2001), L’ossario del sole(Passigli, 2007), Controre(effigie, 2013), incerti umani (Passigli, 2013) and Per diverse ragioni (2017). He edited Cristina Campo In immagini e paroleand has translated Cioran, J. Giorno, Michaux, C. Royet-Journoud, G. Scelsi. He is one of curator of the editorial series of international poetry “Le Meteore” for Effigie and Prova d’Artista for Galerie Bordas.He lives in Bologna and Venice.


As the historian and critic Michele Ranchetti wrote, the poems by Domenico Brancale have the character of absolute affirmations in a timeless space, or written on imaginary gravestones. 

We are not told by whom and when they were said, or rather exclaimed, written or rather carved, or to whom they are addressed ... These poems resemble the stones thrown on the surface of the sea: bounce one two three, up to seven times before diving: their flight is too short to recognize a meaning but the trace of their appearance is fixed in the memory like a sudden light.

Starting from these observations, the Argentine journalist, writer and translator Alberto Manguel said that if we wanted to imagine Brancale's working method, it is exactly the opposite of Rodin's technique: in sculpting Rodin added clay to the form he built, Brancale subtracts, subtracts and continues to subtract until there is only one grain of meaning, but what a grain! 

In a poem Brancale says: "The heart is perfect in every beat of imperfection", that is, the heart reaches its perfect existential condition through the imperfection of its beat, as (we might even say) the poet reaches its perfect existential condition through the imperfection of language, through what can not be said. 

The metaphor, we know, is an admission of language failure; perhaps for this reason Brancale uses metaphors so rarely. His images are worth to themselves. Originality is not necessarily admirable in a literary work, but when it is successful, we feel that that work could have two thousand years of life, as for example: "The door on the season of another body".

According to the philosopher and writer Federico Ferrari, Brancale's poetry move on a completely different level. It swerve away from this false alternative, and focuses exclusively on the word, on that fragile and powerful word to which an individual, when he calls himself a poet, decides to dedicate his entire existence. 

The fact that a man consecrates his life to the word, not to the consequences of words (it does not matter, in this sense, whether economic or political), should make it clear what importance is reserved to the word in a real poetic act. 

Behold, Brancale puts the word at the center of the poetic gesture; like others, in other fields, they put painting, sculpture, thought, rhythm, image, etc ... In Brancale's verses we find ourselves facing an invocation, a voice. 

Domenico Brancale has a voice, is a voice ("a voice heard \ a granted voice \ a rejected voice"). A voice capable of invoking and vocating to itself the need for another word and another silence ("it is time for silence to resurface").

Unlike the fragmentism that dominates the poetic scene of these decades, Brancale's sequences are characterized by the significance of a meaning that often escapes but that is perceptible, present, grafted into the fabric of a shattered musicality, of a "burned voice" as the author himself suggests in one of his lyrics . With Domenico Brancale we are therefore in the presence of an atypical case in the contemporary poetical scene.