And make no mistake, Nomadosophy is every bit as rooted in

questions of identity as Ursu's poetry. The book comes full circle,

beginning and ending in Rome. That first poem, "Overture me
Gnorant Gypsy Play Accordion Rome," muses on the life of the
wanderer, the stark economics of the Euro Zone, the stigma of the
gypsy, and the traditional craft stolen from the speakera music
that is always stolen but never lost. The speaker takes shelter in
this larceny, forever seeking the border, the life flourishing in the
margins. In the poem's finale, "The Coming Backs," the strain of
uncertainty has begun to show:

Round midnight I ran into the Gypsies

who fished coins with their magnets out of the
Fontana di Treviwhat is it that stirs such painful
restlessness in man to always look for a home, for a country?

These restless yearnings are quickly soothed by a sense of

something opening, a powerful sense of coming-together that can
be measured in an object as small as a magnet, a sense of
possibilities as vast as the cosmos:
The coins glisten in the night's waters, constellated,
being pulled up by the magnet's black hole;
if out of reflex you lift them to your lips
thirst will quicken in you as if sealed in a bottleanimula, blandula,
vagula...

by many temptations being distressed/in search of salvation, unto you

I have taken flight.