Franco Verdi

by Maurizio Spatola

Franco  Verdi (Giovanni Francesco Silvano Verdi di Belmont)  was born in Venice in 1934 and died in Verona on 22nd September 2009 on the very day of his birthday. Eclectic poet painter and essayist he devoted most of his life to the research for novel written visual and sound forms of  the use of the word.

 He  graduated in philosophy literature art and theology. In the late nineteen fifties he was lecturer in Theoretical Philosophy at Urbino University. Some of his paintings and collages of concrete poetry can be seen at the museums  of Munster Amsterdam Jerusalem Saragossa Milan Urbino Paris and Miami Hanover Zagreb Rome. Sucked in by the vortex  of the game of poetry he has left his imprint through many decades on several paths of literary and artistic experiment to start with the most  restless and fertile years of the New Vanguard. In 1966 and 1967 he organized together with Arrigo Lora Totino and Adriano Spatola the first great exhibitions of  concrete poetry in Italy at Castelfranco Veneto Trieste and Modena. He contributed  to the reinstating and  the putting back into the paths of culture of Italian Futurists. With the support of Mattioli humanist  banker and publisher  he was able to obtain from his heirs the permission to make use of Marinetti’s original sound material  deposited with the State Archives in Rome. After his death a lot of space in the Veronese magazine “Anterem” was devoted  to Franco Verdi by Davide Agnani - poet and art critic from Forlì -  and by Domenico Cara - poet and essayist from Milan - and by others. The Roman magazine ”Fermenti”  has dedicated to Verdi  thirty-six pages of its  235th issue.  Alberto Toniolo - a poet from Verona - has written about him: “With Franco we have been through ( late fifties and early sixties) some  wonderful years with the creation of impossible committees against the atom and literary and vanguard magazines and activities ( at the Caffè Dante in Verona or in Bologna with Adriano  Spatola) which we figured as an enlightening   of poetry as  conscience shaping tool. Then the years changed and so did we. We kept in touch  from afar always in a friendly way until we finally lost touch as only the history of poets can allow.”

Hereunder there follow four visual poems three of which are taken from his booklet Aperti in squarci (Effe Press 1965) and one drawn in pencil in 1999 and five linear poems four of which from the already quoted magazine “Fermenti” and the last ironic  published on issue  7 of 1978 of the magazine “Aperti in squarci”.

Some works of his  of visual linear poetry essay and fiction are: Tempo (Effe Press 1966) Com'è necessario e nelle regole (Gastaldi 1967)nbsp;Quattro movimenti per un significato (Rebellato 1969) La voce degli astri (Laboratorio delle Arti 1973) La scimmia con le mani dietro la schiena (Geiger 1976) Poesia concreta (Factotumbook 1979) La formazione il codice (Campanotto 1979) Poesia concreta Poesia visiva Scrittura poetica (1979)  La Canzona ovvero i gargarismi della fecondità  an essay on sound poetry (1979) Una rosa è una rosa e una rosa (with Sarenco - Factotumbook 1989) Liber (Factotumbook 1989) Il cerchio perfetto a novel (Bonaccorso Editore 2001).

The books Aperti in squarci and La scimmia con le mani dietro la schiena  are wholly reproduced together with texts of criticism on the author in