In my English class with Professor Bryant, we have been discussing the importance of phenomenological reading. In essence, it is the concept of revisiting parts of a text and understanding it differently given new information or new experiences. I perceive Italian neo-avant-garde literature as discussed in last week’s lecture as a kind of phenomenological writing. If the goal was truly to “free words from crustacean” and revitalize language–to “play and work with what came before,” then poets like Isgrò practiced this concept in full. For example, the “A Fragmented Wor(l)d” poem utilized specific language in an effort to maintain the language. Oftentimes, certain words can seem archaic because certain definitions lack current relativity; however, these Italian poets sought to remedy such extinction. Giorgio Celli, for example, utilizes word association, interdisciplinary language, and human curiosity to revive the scientific and classical diction in “A Fragmented Wor(l)d.” By engaging the reader through active participation with the text, the Italian neo-avant-garde poets not only utilizes phenomenological writing but also overwhelms the reader in phenomenological reading. Each reader brings unique lenses and nuances to the text; because of this phenomena, the poem is as much about what the writer means it to be as it is what the reader perceives it as. It is this understanding of the importance of multiple perspectives in observing, critiquing, and engaging in poetic art that qualifies the Italian neb-avant-garde as phenomenological writing.