In Tomaso Binga's poetry, one grasps a compositional intensity that is a ‘verbal vortex’ in the compositional style of word connection: an expressive and semantic vortex that vibrates in the phonemes of the word, breaking it down into its lexematic identity as a neutral term, to make it a semantic fragmentation within which it is possible to read, hearing, the voice of a cry.

A set of heterogeneous poetic texts whose title "Le pene del pene" (an italian wordplay on The Pains of the Penis) preludes feminist demands and the author's provocative intent in claiming female emancipation, still conditioned by the fundamentally patriarchal forma mentis. "Le pene del pene" is a poetic form in poetic form, through the reiteration of the word and verse and the rhetorical figures used, insist on emphasising the unfavourable condition of women due to the cultural prejudice inherent in the social, political and economic system that conditions and determines the acquisition of a patriarchal mentality in men and the acceptance of it in women.
In each poetic text, there is the author's precise desire to express with acute psychology effective arrows to hit prejudicial mental and cultural attitudes with the precision of an expert archer.

The work consists of three sections: "Corpo", "A Dante" and "Divagando". The first includes texts dedicated to certain anatomical parts of the body to which the author refers in order to reveal authentic but uncomfortable truths, implicit in a generalised way of thinking, as in the case of the poem Le pene del pene (which gives the book its title), Il punto G and SI NOVELLAVAAA...! as well as È UN PROCESSO (with a note by the author) and SE MI FICCO NEL TUO LETTO.

In the second section, dedicated to Dante's verses, she reinterprets or rather appropriates Dante's immortal verses with her playful and ironic poeticism in order to reify them, in ethical terms, in other contents, in subtle denunciations against all harassment.

In the third section, Divagando, a group of lyrical, ironic, incisive texts, modulated on the syllable rhythm, which originate from news learned from newspapers or from personal memories and experiences, elaborated poetically in the opposite sense, often contradicting the apparent truth.