ABSTRACT
The true novelty of Varie ed eventuali is to be found in the temporality that foregoes the regular incremental progression, that veers backwards, to the point of recuperating the origin of Sanguinetian writing, in the form of the first composition included in the volume, 'Frammenti da "Invenzione di Don Chisciotte"'. This reveals Edoardo Sanguineti's real coup de theatre, seeing as this poem eschews the temporal framework demarcated on the cover: more precisely, its supposed year of composition is indicated as 1949. As Vivienne Suvini-Hand writes in her lucid analysis of Sanguineti's libretto, 'along with the notion of "middles" in Eliot, there is also that of "ends". If in Laborintus II the poet toys with beginning, middle and end, a small empirical experiment will confirm how Sanguineti — with his mind still fixed on Eliot — is working to formulate one of his riddles for the reader.
