von Stefano Capecchi, Maurizio Verdiani, Fiorella Corbi und Maria Pia Carlucci
http://romanzocoeva.wordpress.com/ (Official Website, Inhalt & Leseprobe – englisch)
IL PIACERE DONNA from TheCoevas on Vimeo
Tolle Musik zum Buch: De Coeva…
During an afternoon of 2007’s spring, I found by chance some old writings of mine. Little by little I matured the idea to turn these sensations, left in paper’s care, into a novel. The wild passion for music led me. Why don’t make in literature what is made in musical field? I considered therefore a band’s course to come into an album’s realization. In musical groups there is some who conceives the song, some the melody, some the refrain, some the arrangement, then everything is assembled, developed and produced. I wanted it were thus. But who could I have involved? Who would have had the right peculiarities? Who could have felt my same sensations? I decided to contact my old friend Maria Pia to explain her my project, knowing well her intellectual merit.
During an evening Maurizio told me he wanted to write a book asking for my collaboration to the writing. When I read his writings I tried not to be overwhelmed by language’s tortuosity so apparently illogical. Yet I decided to accept undestanding maybe my role would have been to make more comprehensible his thoughts and at the same time finding a code near to his style. We set to work immediately. Maurizio told me he wanted to proceed as we were a musical ensemble, too. This reflection just reminded me when I met Fiorella Corbi for the first time. Going about with her I had opportunity to read her poetries. Fiorella’s fancy and sensibility, in which I acknowledged myself partly, adduced me to mention her.
Maria Pia Carlucci
The affinities with Maurizio and Maria Pia were clear since our first encounter. The challenge they proposed me was tempting before and then passional. By three minds’ writings we came into a dense correlation between them to an unitary structuring. Unusual for a novel, Coeva was conceived as a symphony. All of us were one passion’s tuned instruments: writing.
My approach to the novel was completely casual. Maybe just this accidental conjuncture determined my entry into the project. I have been making acquaintance Maurizio and Maria Pia for a while, and our relation, at first based only on friendship, from May 2008 amplified in artistic field, too. What stroke me was novel’s concept and although I was the last one to joint to the group, I put body and soul in this work’s developing. My part was small, of course, but I hope I have been that small gear which let this mechanism work correctly, a mechanism called Coeva.
The Coeva work was started on May 2007 and finished on 2008’s summer. The beginning was nebulous. There wasn’t a clear idea. We read and reorganize, on pc, all what we could prefer from the notes big cauldron. Our band, just like a jam session, had been tuning the instruments and arousing interest. But at one point we needed a plot and some characters; the noise had to be turned in melody. Suddenly we felt the need to express the idea of a man who was so able to fall in love with a woman, to take risk to the whole endless if only bringing her an amazing gift and possessing her. At the same time we wished to emphasize the waiting-woman ability, to accept new experiences and grow up with wisdom. Then, like a magnifyng glass we entered into the particolar: the characters. The names were already inside us, like sons who had a name before their birth. We baptized the male character: Kama. This name came from Kam (to desire): Kama, the desired one. Opposite of Kama came out the female character: Vèlle, the will. Kafkasìa, mysterious, dark, tortuous; Assemblea, the Vox Populi; Accademia, the educated side but not comprehensible to everyone; Ginger, the fool, who incarnates thoughtlessness and irony; Strauss, the Virgil, the innovator, the composer, the Chorus author.