GRM: I have already said in the first question, but I will say again. Wilde wrote: "Art belongs to those who can distinguish itself from early youth" concept, expressed in another sense, even from Rimbaud and many 'great', so define it. Sure you can teach writing, must now search for the Italian to accompany you in this up to sixteen, and so learn to take account of, you know what are the rivers that flow into the Atlantic Ocean, or in History, What does a date as 1789, but the end there. Talent is nothing and has nothing to do with knowledge, it means traveling to a dimension of being that is not for everyone, so it is matter that can never be taught in school. In your life you can meet other like, face or by reading their works, but never, even one you like, will teach you who you are and even less what you're into art. However, if I were to advise a young person to go to refine the gift already has in it, I would tell him to enroll in a "course" taught by a writer of value ... but there are few writers or poets who teach how to value write in the most congenial, the young talent in front of them, because, usually, writers and poets whose value does not believe in those courses of "cut and sew" or "gardening". As is the case in Anglo-Saxon world, since there seems to be required, would require that such "classes" were held within the universities, which then reach a free program of study for those who want to participate, in order, as I said above, the help or find out where the talent is there, otherwise, outside the university, they usually turn into "training activities" to spend a couple of hours together reading teacher, or pseudo, and reading other che ‘aspirano’ all’Olimpo, i propri ‘birignao’ oppure, per chi li tiene, cioè per l’insegnante, o pseudo tale, per dirsi un qualcuno o per spillare soldi agli sprovveduti o a quei deliranti, e ce ne sono a milioni in Italia, che credono di essere artisti perché mettono una parola dietro l’altra. Sarebbe molto meglio che tali deliranti andassero da un bravo psicoanalista, forse ne guadagneremmo tutti, soprattutto ci risparmieremmo la marea di materiali inesistenti che giungono alle riviste o alle case editrici in questa follia dilagante del voler essere ‘creativo’ (poeta, narratore, sceneggiatore etc.) a tutti i costi.
ER: si scrive senza think? Gian Ruggero Manzoni writes? it is true that the most urgent thing you have to say is that coming out soon?
GRM: Sometimes you write without thinking, that dictated you flying to the other dimensions that are not real, or at least what we define as such, or thinking, that is with a well-defined project already in mind, or at least with the framework of that project already clear, in which, therefore, there is no recipe, and for this reason, it is impossible to teach the how, where and when to write. How can you teach magic? ... The magic, not illusion, understand me well, and we begin to give the correct meaning words. For my part I write as a shaman who casts the bones to interpret the future. Yes, I write ... and I can say after more than thirty years of writing. Then I see. But the gesture of the launch of her bones in the sand to be once understood what your task and found the gift you have. The rest is private so the act of creating that for me would be impossible to realize in the community. At best, I accept who is before us, one by one, and asks me to question the bones for him or her, but that happens so rarely that you do, only when you encounter a similar. But your are so similar around the world that he encounters in life you can consider five lucky. Already five shares of that magic is a record, a luxury that few have had. Regarding the urgent answer: no. It is not the 'what' most urgent one that comes out when you write, but not at all, is what you have in the deep, and often do not even know. This wonder of making art. If you write the urgency you usually write the "disease of life" that dwells in you, and what is not art, it's outburst, and diaries, news is superficial. Again better to go by the psychoanalyst, or better yet, a psychiatrist.
ER: How do you tell if what you read brings in the talent? I make them my reasons and examples?
GRM: Non posso motivarti un bel niente. O senti o non senti. Dopo aver letto le prime dieci righe di un romanzo comprendo subito se viaggia o non viaggia, così mi succede con la poesia o entrando in una galleria d’arte… colgo subito le opere che funzionano, che sono di valore, anche se hanno una matrice concettuale all’ennesima potenza; le senti, poi ti soffermi a pensare, le analizzi, ma è la prima sensazione quella che conta. Quando ti imbatti nel talento lo avverti subito. La prima volta che incontrai un’opera di Burri vidi l’aura che emanava, e la stessa aura la vidi attorno a lui quando lo conobbi di persona; ciò non mi è successo, ad esempio, quando ho incontrato Umberto Eco, formerly my professor at the Dams, Eco fact, even very good at his job, not an artist, not a magician, but it provided an intellectual narrative, and the difference there, as well as nine hundred ninety-nine people who write poems about one thousand are intellectuals, children of compulsory school, which compete in poetry, only that one is left is a true poet. The books of great writers also give off light or darkness deep, well that is a different aura, but emanate. If you are now Take your time, if you're not: hello. That is why, in Italy, will be twenty big, the other, myself included, belong to sottolegioni angels or demons even though ... it is not just a privilege, considering the many who can not fly like a chicken.
RE: question for a man also to theater in that report are the body and writing?
GRM : Total. Twenty years after I wrote the Manifesto of the visceral ... with this I believe to have you respond.
ER: You have a master? writing-teacher-student who has meaning for you this trio of words?
I've had at the time, when I read a lot, all dead, though. Very few were born in 900, in particular in Italy, then as in previous centuries. However the man is my master. They are the men who taught me to refine the talent, study, try to be like most of them. For example, I can say that Junger or Testori son were among my teachers, but Junger or Testori, first, I was taught to be men with a capital U, no writer or poet or painter or playwright. The instructors teach you to find yourself as being a man, can act as examples of rebellion, cultural and existential coherence, of 'diversity', they can prove that honesty still exists and has existed, but the work you are always big you have to do it on yourself. Finally you that you give the code and the method, and the originality of this house style, that is that marks you and elevates you ... making you, in fact, fly.
ER: Sscrittura empathic or sympathetic? you make me some examples?
GRM: If "nice" as is "ink (in fact) friendly," meaning that you can not read what is written if you do not have the secret of how to make it look, well, then, without doubt, a good esoteric I love the second. However, apart from the 'throw' and then threw it to me, is not required to specify. Empathic writing is when you feel the feelings of others, or you hear them, you understand them, as they capture the times, the dominant trends because part of you, therefore, that approach writing, you can also adapt, but in the sense that risk is writing to please, said to be aware and look for the applause, success, maybe the money, writing Nice when you try instead, with it, to provide answers to who, for instance, is evil, is pressed from its own self, and you will help him, disclosing the problem that troubled him, without being subjected, in turn of that condition, but in this case, you can cheat, but if writing is empathy and sympathetic at the same time, the whole, I believe, can become more interesting because, in addition to capture the mood of the other or others and to feel united with him-they look, too, to find solutions together. The fact remains that everything can be resolved in an illusion, in a theater, in which writer-actor and spectator, then, sin of the same disease, namely the need. Pulling out of this whirlwind, I'm writing for a (free and singular) that respond only to my personal need, without, therefore, tend traps or without the nurse on duty, so that makes it a pleasure to write to me first same emotions that myself, by which the story (again to myself) that makes me vibrate or I'm interested in eviscerating, without making any application I respect the other and then, if told, can be enjoyed even more, well, hello otherwise, each in their own way, as the problem, at least I live as art today, is lacking. I've always been a "maverick" and I believe that fifty-two years, will remain so until his death. Examples? Most of the narrative is now being offered is inconclusive sympathetically and empathically smartass, smartass when seeking consent, inconclusive when nothing changes, ie not "heal", do not give a "cure". It remains a fifth case (after the empathy, sympathy, empathy, sympathy and personal pleasure) ... writing that trying to 'indoctrinate-condition', and succeed, but I do not see the Titans this caliber around, I'm looking for now 'wizards' with this power ... and I'm very sorry. Let us be content, therefore, of some emotion, caught here and there, by this or that, and we continue to write books that we'd like to read, going where and how we feel better.
(Review by the Association LucaniArt ONLUS)
I do next to beat 
