Tra «improvvisazione» e «futuro poema». Per una lettura incrociata de “Gli immediati dintorni” e “Il musicante di Saint-Merry”

This paper presents an analysis of the structural and translational choices that characterize Vittorio Sereni's Il musicante di Saint-Merry, highlighting its connections with his prose collection Gli immediati dintorni. The investigation is conducted with a dual awareness: on the one hand, the unstable nature of the second part of Gli immediati dintorni, which was subject to continuous revisions; on the other, Sereni's own caution against reducing poetry to a ground for theoretical comparison, at the expense of the authentic relationship between author and reader. Without aspiring to a theoretical systematization, this study constitutes a lateral reflection, focused on the why rather than the how of the translational choices that delineate a parallel diary, investigating the echo effects between the two volumes. The aim is to explore that uncertain margin between memory and revision, mediation and rewriting, wherein the textual "truth" of these works resides.