From the articulated language, going back to the energy which is behind it, making a real vital effort to touch what the work is during the genesis of words and sentences: something indefinable, but audible, tangible, penetrating, quite concrete. This is the polypoetry by Enzo Minarelli, a claim of totality inside the ontological freedom of sounds; firm will of provoking a new language, the first example should be the consonant burst of Con sonanti, while the final strangling of Figure poem could be the symbol. Rather than destroying the word, it must be ruled in order to build up, after its defeat, another thing which is able to say, without any device, what we are. Controlling the word through the voice which supports it, embodying it, overtaking it. Like a primordial, corporal conscience, the voice grasps what is said and what it is not said.Phonemes, syllables, words, sentences too, the whole stuff of language plunges into it and takes out an energy which is surely outside its simple force of common use. Everything is good to break the prison structures of the common idiom,and to open it in front of its deep truth: decomposing-recomposing syllables, breaking rhythms (Rime in ò / ì), curtailing talks to the single pronoun where, before all the meanings, our solitudes are facing (People), greatly polyphonic with lexical sonorities (Regina), wavering of accents (Accenti). Sometimes, beyond the overstepped limits, a sentence is recreating, issued from nothing, which is out of the range of linguistics (Poems in word). Whatever plan of action is chosen, Minarelliis techniques always include repetition, recurring hypersaturation, hyperdetermination of quantity and suddenly it is the quality which is transformed, as it happens in (Monòstico). Polypoetry, therefore, goes up the genealogy of the word to the intersemantic phase where voice is exalted, to the moment where pure breath is derived from, with its psycho-physiologic fullness. So, under an apparent disintegration, a meta-music draws breath, to which a real libidinal listening answers, without the common measure of our daily perceptions, degenerated by thousand years of rhetoric (example: Voyeur). From here the intervention of objects, as if they were inhaled by such an empty saviour; they help, out of all rules, to resemantize our voice (Bread&water poems; Love dialogue between a microphone and an elastic; Ode allasta). In that moment, a new world begins being.