The epigraph “sleepless poetry” seeks to integrate lyrical categories linked to both the arrival of day and the sleepless night. The motives that find expression in the poetry of dawn and sleeplessness draw an arc that contains fundamental registers of lyrical endeavor, such as the desire for love, religious enthusiasm, the alienation caused by work, or the anguish of a sleepless and anxious night.
Both medieval lovers who must part at dawn and contemporary voices that fear the estrangement and emptiness that await them in the city confront a fundamental rift: the one between what they want to do and what they must do. Both experience social impositions as attacks on their personal truth. Essentially, it is about confronting the inner world with everything else, usually while others sleep.
Understood in this way, the poetry of dawn and sleeplessness takes on a dissident character and becomes a forging of the poetic self and the expression of individual conscience. Because of this closeness between intimate desire and social duties, between what is yearned for above all else and what is most bitterly abhorred, we understand insomniac poetry as a particularly fertile archetype for deciphering itineraries of the evolution of lyric poetry, of the literary transformation of love, and even of the discursive configuration of subjectivity.


