Preface at "Kupahúba, tree of the Holy Spirit"

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by Mario Luzi

Its impossible to confer to one distinct being the voice which talks, praises, enhances, paints in the same forest where all the vegetable, animal, elementary life stirs up of its unity and sacredness. Each presence witness of its living and of its changing and transforming in the hours and in the events of the light and from everywhere rises the word and its comment (trees, flowers, animals, voices of birds, fruits, places, sounds, the waving of waters and rustle of winds). The continuous and simultaneous vitality of the whole forest, talks to itself from every creature the language is beyond the human, and this is tried out and represented by the aimed sensibility, from the flexible knowledge of Marcia Theophilo who has arranged this arboreous poem. And the same length of the dense poem is, in this specific case, a tribute to the unlimitedness and to the everlasting of the backdrop and to the theme of the Amazon forest.

Yet, this celebration of the world integral and primary in the fantasy of its same reader, is an ideal canto of alive memory against its lost and progressive pull out.

The poet who has warped on the immanent emotion of the vigour and of the liveliness of her web steady and variable at the same time, is also a merciless spectator of the wither of that universe by the unprejudiced speculation and of the baleful effects of the modern "civilization" that has involved also those regions.

Márcia Theóphilo has acted on two different fronts with the same generosity: the one as anthropologist who has the practical knowledge of the indios words and the skill to analyse the catastrophic phenomenon for the indigenous populations, and the other one, poetic of the great canto on a human reality and a natural order destroyed and, alas, next to be eliminated. She already donate us this pathos in other two remarkable volumes: I sing of Amazonia and The children Jaguar. I can say Kupahúba, the tree of the Holy Spirit, is a vast polyphony where the range of the lyrical tonalities deeply appreciated of Márcia Theóphilo, are explained and answered. The Italian translation of the same Theóphilo let us think to a double faced text. And is not a small merit, since the author well insert in the rhythmical and tonality system of the Italian, without sacrificing at all, on my opinion, the rhythm and the sound of the original Portuguese of Brazil.

Mario Luzi


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