You were born in Castellamare di Stabia and you lived in Agropoli, near Paestum temples, until you were 18 years old. If I remember rightly, it is right there that your first poems were born; you have won countless literary prizes since you were 6. How did you start your relation with literature? Was your passion for poetry handed down to you or is this all by yourself?

Poetry is the music of my life, you hold it like you hold your breath and then you give it to other people. Poetry has neither a beginning nor an end, but it is in the universal spirit and so  mine too. Loneliness is Poetry, pain is Poetry, the sea is Poetry, contamination is Poetry, a metropolis is Poetry, sacrifices are Poetry. Literature has been a haven, Poetry instead is an explosion. In this life I have never met anyone who deeply loved Poetry just as much as I do.

L’Autrice Lightbox, work of artist Salvatore Cammilleri

Since 2014 you have been cooperating with an artist, Salvatore Cammilleri, with whom you wrote L’autrice, a poetic interaction that binds you to your public.

Having experimented this interaction myself, even if I’d rather call it performance, I must confess that I was truly impressed by your ability to analyze someone sitting in front of you in a few minutes and then write a poem right away or better called a “piece of heart”.

After trying L’autrice myself , I lingered to see other people’s reactions. This made me recall the reactions to The Artist is Present, by Marina Abramovic. What has been the best reaction to one of your poems? But above all how did you conceive the work called L’autrice? Is it a project you will continue?

 “L’Autrice” is the result of a great love born between us just like between visual Art and Poetry. Both Muse, from sisters to lovers, a new story… and we will perpetuate this project until we can marvel at the present. I do not believe in beauty or ugliness.

What I do believe in is what is “meaningful” so the reaction that has struck me the most was when I saw an aware melancholy of those who stood up crying reflecting themselves in my lines, lost… or in children’s joy who curios sit down opposite the author trying to hold in their eyes and soul the hope for a credible future.

L’Autrice – Annarita Borrelli – ph. by Urban Mirrors

I had the chance to read your book In fede: besides complimenting you on it and especially for the poems in it, I’d like to ask you, or better said if you could tell me how your poems come to life. Do you have any situations, places, moments of the day you prefer or you reckon as most auspicious?

Living, dying and come to life again it is definitely an auspicious flux. I don’t like the deceitful sold-out fascination by colleagues that use night break to write, but rather I love perpetual inspiration that does not have a place or moment.. when I was young I had this dream of living at the beach of my sea and in my father’s studio, today I seize the day and I am fine with it.

One of my favorite poems is Nero (Black). Could you tell/analyze it?

Who knows if one day someone lingers on admiring the firmament with a mishap soul of this decaying contemporary life. Our dreams remain caged illusions in a socio-anthropologic sphere… pessimism uses realism and our eyes are lost in doomed black … and then you feel the sorrows clashing against emptiness you trip on, by chance, due to blindness, willingly or for our desire… We thought it was firmament, but it was our burial mantle… just like a food supplement in August when you have low blood pressure. If you do not take it, you seriously risk passing out.

Among all the poets and writers all over the world, who influenced and changed your literary/artistic vision? How come?

I pay respect to all the great poets and I can give few names. Cesare Pavese and Russian poets. They are my best friends. Why? Because they write about a big and tiring “hug” between ourselves and the history of all human kind… and also because in sorrows they calm me through sorrow itself.. a new endurance pageant for scourges.

My last question is about your cooperation with Ignorarte ( an information and cultural gateway that is also a cultural association and event planner. How was this project created? What are your future aspirations? official logo

“We know we do not know …

This Socratic awareness is our conscience, the undeniable and evident truth  that has always been the pillar of our culture values. Ignorance is always learned in the face of knowledge and its celebrations! Ignorarte is our name, our spiritual mark, our vision; it is the antidote against  presumed mediocre exactness, and also a lever to aim at “progress”;it comes from far (and more or less well-known) blatant will, from associating rather than dividing.

Ignorarte will celebrate its birthday in September, just like any other transaction; it is a vector of ideas, projects, considerations, questions, answers, surprise, disappointments, innovation! Ignorarte undertakes the path of doubts to reach contents, points of view, possibilities, alternatives and preferences of Contemporary Art.

However one might wonder how to make new something that looks old. The solution is: details, research, passion… faith and Art; is it an utopia or a great experience that aims at sharing quality  and a good mechanism of artistic choice? We proclaim long life to the dreams of “revolutionaries” who realize, despite themselves, the inadequacy of the old world in front of the complaints of ordinary history”(Extract from manifesto). is an idea that became reality, it is our manifesto, our life, path, faith, spiritual, .artistic and poetic mark. is like a culture container, a collection of quality and we are our style. was conceived as a necessary and insufficient act, it is an answer.

Annarita Borrelli – reading Levels art exhibition 1st Edition 26/06/2017 ph. Max Martini

Our aspiration is to find ourselves in a social, historical and content centre to realize that many minefields are out of danger and many other cultivations  decided to create a sole space and artistic regeneration with us in the field we reckon to belong to Contemporary Art context.

We must choose(and perfectly)so as to write and enact history.

Article & interview by Loriana Pitarra

English translation by Chiara Vilmercati