ABSTRACT
In a tight-knit circle of friends, it is commonly said that Edoardo Sanguineti is the most musical, the most put to music and, even possibly, the greatest musician among poets. For me, as I imagine it is for many others, the name Sanguineti embodies and evokes the very essence of the avant-garde, that neo-avant-garde which expressed the very best of the last half century: Sanguineti’s ‘poems’, Arbasino’s ‘novels’, Carmelo Bene’s ‘theatre’ and ‘film’ and the ‘operas’ of Berio and Nono.
