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Lodoli Marco, "The Night"

Racconto lungo di Lodoli, meno surreale - un po' meno - di altre sue cose; ben written, as always, with the usual clever balancing act between lyricism and irony, once again assured by the elements contained in each of unreality.

The story is thin: it is told in flashback the story of Constantine, while he is brought
around Rome at night, two figures, as he
employees of the mysterious Mad, and Constantine believed that the two are responsible to kill him. The protagonist is a restless man, simple, naive (a bit 'stupid, let's say), whose feelings Lodoli weaves through descriptions and images, along with the balance of the tongue, are the substance of this short novel
.

Constantine delivery packages for this account mysterious Mad -
presumably a kind of boss - who sends the instructions written on slips of paper with prose and sometimes bombastic philosophizing. Following Constantine was hired to take care of the park's Crazy, which can not leave the park, and are assigned a horse first, then a hawk, then a manatee in love with Constantine.
Falling in love with this siren is the situation, more than any other, highlights the conflict between the inner world, surreal, of Constantine and the crudeness of reality in which they live. In addition, this ambiguous and impossible to 'report' can not remember the relationships between the sailors and the wonderful marine life, and undefined in the cargo bay and the gulf Michele Mari.

say nothing of the outcome, even more surreal.

As I said, Lodoli continues to play with the ambiguity between writing non-stories (focusing his work on tone, atmosphere and descriptions) and the refusal to do
formalism altogether. In the night
But this balance shifts in favor of lyricism and consistency of the plot;
therefore less ironic, less invention, less fantastic situations. And the result is perhaps
weaker (compared for example to Wind ).
It is a very original way, in the Italian literary scene.
(Di Stasio Nice painting on the cover (not the worst).)


Postscript: looking back now, several years after writing this card, The night I remember it much better than it appears above. Obviously the writing is capable of leaving certain memories and certain impressions, and is not a small thing.

A Welcome Poem For Church

Papyrus and musket

S ettecento broken pages and several appendices and indexes full-bodied. "The papyrus Dongo (Adelphi), latest and recent work by Luciano Canfora , is a big book. A big book that tells the story of Italian Papyrology during the Fascist period and until the early '50s.
very specialized topic, no? Stuff closely reserved for philologists, it would seem. Yet I who knew nothing of Papyrology, philology almost same, I read it quickly and with satisfaction (nor are culturally masochist, at least in this case). Why? I have asked him.

Canfora's book is a history book in every respect, the report of a detailed and meticulous historical research, with detailed comparison of the sources and all the other trappings. Yet it is also a great story: without conceding the anecdotal or narrative aspect, Canfora traces the events business, political and - in part - of the greatest philologists personal Italians of that period, work on papyri (transcriptions and translations) , contacts international archaeological excavations, the struggles and meanness aimed at staff and management of prestigious academic positions and professorships.
"The papyrus of Dongo" consider only those events. However, it is exciting. Why?
The answer I give is not only the narrative capacity of Luciano Canfora (which in popular works and has written many), no, I think the answer is obvious but rarely mentioned that the history is narrative, it is news; is the story. The scientific rigor and objectivity does not necessarily exclude this aspect: history is narrative, and can be even when it is done well (not only, that is, when it is hoax ideological).
Certainly, the events narrated in this case, they carry a certain richness: mainly the fact that they fit into Fascism, in the administration of the University by the regime in power to manipulate to obtain funds, promotion, tenure, publications . No coincidence that the characters constantly on the background of the events recounted are kind and Bottai, that the philosopher closer to Mussolini's regime and the Minister of Fascist culture.

In the foreground, however, there are philologists: Medea Norsa, Girolamo Vitelli (until his death in 1932), Godfrey Coppola, Achille want. In the stories of these internationally renowned scholars, there are also two different ways of dealing with the regime: that of trying to approach it as much as possible and draw from personal benefits (Coppola, want) and to those who accept him closing his eyes and trying not to have disadvantages (but without enthusiasm). The sample of opportunism, of meanness, of impropriety and ambition is Achilles Vogliano: After reading the 'managed' During the two decades, is really impressive to see how, after 25 April '45, try to defend themselves from 'purge and recycle in a memorial that looks ruthlessly Canfora (for other people want that so many other Italian academics deeply compromised with the fascist regime can go out in the end largely untouched by the change of regime). Among
those who stayed away from fascism, while not oppose it, there are Girolamo Vitelli (doyen of Italian papyrologists, former senator and Giolittian 73enne time of the March on Rome) and his student and collaborator Norsa Medea, the latter is a figure that comes from really gigantic reconstruction of Camphor, and yet, after the death of calves will be continually humiliated and ostracized (although the greatest scholar in his field, will never have a chair and eventually expelled for no reason even when Florence Institute papyrological had worked all his life), and this will only happen in small part because the origin of the Jewish father (the adventures that the bureaucratic Norsa tackles to go out free of the racial laws of '39 have the grotesque: a pearl is the request by the Ministry of Bottai, the mother's birth certificate to establish the 'Italian': except that the mother of Norsa, Trieste, was born and died in Habsburg territory still 'unredeemed'!)
The last character of the historic split of camphor and Godfrey Coppola. It 's a case of its own: careerist and ambitious but also genuinely excited to be in politics than in philological work, Coppola has worked many years with his teacher and Vitelli Norsa. But it is also increasingly linked to Fascism, and from '37-'38 his political rise in the system is constant, not only as the cursive "People of Italy (where he published articles so violently anti-Semitic to embarrass Goering) as well as cynical and ruthless political leader, especially after the September 8, 1943 and in the parable of CSR. In fact, Coppola, now considered a blind fanatic also all ' inside of the Fascist Party, dies at Dongo was shot along with the surviving leaders of the Social Republic (but also for him not fail an attempt at posthumous rehabilitation - political and non-professional in the early postwar years). And 'course, adding that his friendship and cooperation with the Norsa into hostility from '37-38.
And as part of this friendship became hostility that finally runs the story of the last protagonist of the book Canfora: papyrus giving the title to the work. In fact, these fragments of the "Hellenic" is more of a casus belli, both on the academic and on that of personal relationships: I leave the story, from discoveries in the '33 war, any player, just as freely, if I leave works in the university comparison between the pettiness of those years and the current situation is asked to give rather dispassionate guide.

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Francesco Guccini, "Chronic epafàniche "and" Cow of a bitch "

Of the first two volumes of autobiographical fabrications pavanese / Modena Guccini hard that I can speak with some objectivity, because of the affection I bear to some of the places, things, culture told. Patience. In
Chronic epafàniche Guccini tells the childhood pavanese (Guccini is 40), in the mill of his uncles during the war and a bit 'after (he spent many summers there, even after moving to Modena). There is a chronological history and nemmanco a thread in the story, or, if any, is lost in a ramble for anecdotes, parentame, objects, words, tastes (and I'm not talking about a defect, so that was the first real book of the singer Emilia).
There are Americans who arrive and leave and bring tons of stuff (mostly explosive, But not only that), then recycled and used stuff for years, in many uses. Americans' a throw anything away, it seems. ( Then the war is over and the Americans have won. And we? No, we said that was lost. Maaa?! O was not all on the side of the Americans, us? ") Then
there is the river, the country, people and mountain people cheerfully crude and blunt the following storytellers will always, until now, with a fierce and ironic evidence. All nell'affabulazione rich dialect (I doubt that anyone who does not know that speech can read it in tune with the - ahem - semantics that text) that builds a affreschetto modest and devoid of pretentiousness (always the higher quality of Gucci, this lack of claims ) of what is his personal mythology (that which every man has his own, no?, and who does not n'ha, poeretto him), that of childhood places and people - from having fortified in case of FG leaving areas of early childhood, and then found them.
It 's a beautiful story - I'm biased, I am of those parts - and heaven knows it is difficult to find descriptions of his native province that esondino rhetoric and their saws.
" Vacca a dog," the second book, however, is the childhood and adolescence of Modena Noster, a province on the outskirts of the war, muffled by fog and dutifully lined monelerìe of the boy's a bit 'rough But not stupid , and appropriately cruel and tenders with the figures until ragasine caps, the mine, from early cinema to rochenrol, co '' I'm bitterly unattainable American myth.
Until the light of revelation, after watching a movie with Elvis: guys, if we do a whole we are more intorteranno Troglio for sure! Then bulogneise
to Madrid, the premises and try to suonicchiare pussy-obvious constant - until the close of the boy montanarprovinciale that while the peels on the stage a little place, you see the look on mine in under a beautiful aristocrat who had university attended, and it says "I'll do the cocks' overall job I'm your life!" The
dowry of these playful small book - I'm biased, I said it already - is as true, ironic, mock-naive Guccini said that with which the memory of its environment, with that story-telling poetry that he can sing (just) right without taking too much. It's not prose naive: it is built and aware, but it works, because, you know, the style fits like a glove to the content.
The latest chapter in the autobiographical saga of Frank Sinatra is " Citanova blues," but I have not read it yet!

Grecian 2000 Does It Work

Antonio Faeti," Looking at the pictures. The Italian illustrators of books for children "

It is here that it is started, then designed and targeted
the adventure of drawings that opened wide the kingdoms. Very
ago - but a lot - Before printing the words
have claimed depicted their
blaze - and not just the puppets or puppeteers' stories. However, the guide to

Faeti Antonio (thirty years ago
first impression, now the new edition: p.
four hundred and routes - was already several hymns -
dodic'euro and almost half - in Ostriches dell'Einaudi)
I said? Ah, the Faeti: in "Looking at the figures"
speaks of the illustrators for children: light and dark
tables on fairy tales and stories, from mid-nineteenth century, the books below
Italian (but were dimolti Tuscan).

of distinguishing between the drawings, the floating lines, and the tables
impressive (full page, giants,
with two rows at the bottom, taken by the way) I can not say with
'sti octosyllabic of cock. Only that the first, without any ambition,
fan pages read, the second, entire stories, other stories
stories, fictional hypertexts.
(too much. 'Solace me I'm already ready- the broken section of the cerebral cortex responsible for patience .)

Epper: the figure (illustrators unpopular): There is
Mazzanti, Dore-ian, a little dark and claustrophobic. And the pictorial
Piattoli (bianchennero), very orobico. Of course, the Cloisters
instead, even when it monsters,
is just something else. Okay ',' nsomma, there is a galore.
I will only Salgado's leg, taken from the Sultan.
(But we - and those of others - will say much more and better
the illustrious Dr. Farina, if it has to do better.)
(God, how disgusting this rhyme! I hang himself self-esteem. )

Nor can we be silent Goliath Cambellotti, Yambo, Ruby, all
liberty (the last, long live squares). The collection of quotes
Faeti Tofano, Biolette,
Toppi, Natoli, Molino, and there is the more perfect that
Gustavo Rosso said Gustavino, from the pen
Magicanto and spirit (this is a little emphasized).

course changes everything, pei pei and players said, when
that overlook and flooded the comics.


[Faeti Antonio, "Looking at the pictures. The Italian illustrators of children's books." Einaudi 2001.]

Varicose Vulva Images

passes on" life instructions "

  the concerns of 
 ***, reading 
 Perec's book, 
 are probably shared by many of those 
 
 trying to read it. 
 no attempt to refute the de gustibus 
: the DeGustibus 
 giustibus is, and without doubt La Vita 
 Instructions for Use 
 is not for everyone, although opera 'unive 
 rsale'. Not for everyone but if 
 for many, across seas and many 
 (for 
 Mari 
 ICUR s). 
 
 
 there are not only 
 
 lists and descriptions, in 
 LVIPLU; 
 there are many stories 
; 
 
 there are at least 179 stories (in groups of 60, the third 
 maimed - God forbid!). 
 some complicated and challenging stories, other 
 simple anecdotes of everyday life. (179 
 least the stories are listed in Chapter 60, rather than illuminating chapter about 
 for various 
 you expect). All stories, like 
 
 objects and characters are intertwined in places 
 
 of 
 Parisian building which is the 'capital' and the center of the universe LaVIPLUiano. 
 wanting to give a possible key to reading the text 
 (perigliosissimo intent and consciously re 
 duction, in the case of a work-world), I would say that 
 LVIPLU tells the extraordinary, 
 the complexity and richness of everyday 
 Diana (1 ). 
 
 
 casual-mathematical structure that generates 
 stories 
 in their braided and the way to tell the 
 be deduced from the journals to 
 c, but know it is only a deepening 
, an excavation 
 
 but not necessary for first reading (
 an excavation that does not reveal much tut 
 to). The excavation may make sense in q 
 ow may know other parts of 
 ll'universo LaVIPLUiano; s not much 
 enso if it serves to make the census or the collection 
 by fan-atic. 
 but the point is that a read only by exegetes 
 hermeneutic is wrong or (2) (
 pretty obvious, eh). 
 
 
 short, 
 "Life, instr uction 
 for use" does not need 
 
 instruction 
 
 for u know. 
 
 still a massive presence 
 appropriate, accurate randomizer 
 of narrative elements, it is - imho - what more do 
 
 intent to conceal from the game structure of the work: 
 the case in the text. is also the artificial reproduction of 
 
 how to implement in reality 
, the extraordinary nature of everyday 
. something reminiscent of the "rag 
 Thurs green" Rohmer - vaguely - in the sense there 
 rto - no, in fact, better cancel 
 Rohmer: it does not clear, I think. 
 the game, the case, the role of chance 
 
 in games, the role of chance it 
 
 lle 
 stories of everyday 
 (here). 
 
 
 to better say, the combination 
 ation and inter 
 secarsi 
 of many events, people 
 oday, objects 
 puts in evidence 
 
 
 continuity between what is trivial and what is right 
 golare, and the possibility theses 
 (1) is that everything is strange and nothing is 
 extraordinary veterinarian, as a whole. every card counts, and already 
 Ochi, well, the games are a serious matter 
 as the other, in reality 
 daily. 
 (and com ele 
 nque 
 
 nchi 
 are reading 
 _potenziale_ 
 beautiful 
 other 
 that.) 
 
 
 
 then there is the way to tell: 
 Perec tells his stories in a more detached 
 Not really 
 chronicles: 
 rather not judge: the story - 
 and articles 
 - 
 speak for themselves. However, there is no doubt 
 
 
 that, say, the famous painter of course 
 
 ambition, cunning and ruthlessness 
, while Article 
 igiano Winckler has not in itself 
 nothin 'more than integrity, 
 care, precision 
 zeal, and even grotesque in history 
 
 
 the art critic who tries in all ways to buy 
 
 puzzle Bartlebooth 
 Perec says his (and makes fun of the system 
 not covertly 
 market 
 and criticism of art of his time). 
 
 
 all 
 what you could tell 
 better? 
 I doubt it. who thinks 
 face examples. 
 is done ("done", so to speak 
) 
 
 know so that a universal re 
 ccamente populated 
 created in retaining more do eq 
 uilibrio 
 form and content (and thus a form MACR 
 oscope prot agonist, and 
 rigid in some respects vin 
 and leaking) is a company unique and makes pressure 
 sochi text 
 a classic of literature and a map of 
 a world that is diametrically opposed to the 
 Plotlandia where dwells the most 
 
 writers. 
 
 
 
 pb (1) of course this is false, and then deny it.  

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The compositional structure of" Life, instructions for use "On stage

The compositional structure of the work of Georges Perec - who has long been known, and which was also illustrated by the author - reveals most of the questions on the text, although in a way perhaps a little disappointing for those who did not know that structure.

Life, instructions for use is a novel Oulipo. contains all the experiments and the intent of Perec and other 'followers' of potential literature. Perec sees it and realizes it as a work of 'universal', whose center is the palace and Atlas 1, rue Simon-Crubellier since the day June 23, 1975, at about 20. Indeed, Perec used a section, a section of this 9-storey building more wineries, and imagine it divided into ten vertical columns. In practice, a 10x10 chessboard is the pattern in the vertical of the building, and every chapter of the book describes one of the 100 places in the building corresponding to 100 cells (indeed, the chapters are 99, since the cellar in the lower left is skipped (*)).

first question: in order to describe the places of the building (and the stories they have generated)? Perec chose a mathematical criterion for an order neither casual nor too elementary and visible (typically an imperative Oulipo) takes one of the solutions of the known problem of covering one enigmatic chess-board, all the houses, without passing on any twice with the horse of chess, and applies it to his board 10x10. the 100 movements of this horse gives the order of the chapters LVIPLU through the building. Part of the stairs and ends in the rooms of Bartlebooth. (Every time the horse touches the four edges of the board end part of the book, which is so divided in 6 parts)

What goes into these 100-less-1 sites?
Perec compiled a list of 21 pairs of categories (location, activities, citazione1-citazione2, number-role terzosettore-driving, walls, floors, time-place-style furnishings, length-number, age & sex-animals, clothes, fabrics (type), fabric (material)-colors, accessories, jewelry, readings, music, paintings, books, drinks, food, piccoliarredi-games & toys, feelings, paints, surfaces, volumes, flowers, ornaments, faux-manque, couples 1 and 2). for each of these 42 categories Perec chose 10 items, resulting in 420 items that will be present in some so, in the chapters of the book.

some of the categories are particularly 'strong'. the ressort, for example, often give the impression to the chapters where there are, and class 3 ° field then indicates a style of writing 'technical' (eg., recipes,
terminology literature, technical manuals, software etc.. ). a category, 'length', requires the number of pages relating to that chapter. There are two meta-categories: manque and faux: are two rules that impose, if any, to change than other categories, a sort of wildcard.
in practice, by dividing the 40 categories (all except manque et faux, of course) in groups of 4 teams will have 10 categories which are the to which they apply the rules and faux manque (manque can not comply with any of the categories, faux allows you to change the element of the class).

Perec wants in each of the 99 chapters of his novel is an element of each of the 42 categories. should then distribute these 420 items on its board. and wants to do, of course, so neither accidental nor ordained.

to this creates, for each pair of categories (they are in pairs, in fact), a 10x10 matrix composed of 10 pairs of items in each category. 21 10x10 matrices thus obtained.
these overlapping matrices of the board (in fact, since the board is the vertical split of the building, there is a more obvious when you think of approaching vertically like books on a shelf) we find that each square of the chessboard (which is a physical place in the palace) are 21 pairs of items, ie 42 items. (So \u200b\u200bthat, inter alia, the building regained in a way its depth-my impression ;-))

before doing so, however, Perec gives another stir-non-random: does not want matrices are all equal, does not want that in each element (1.1) and (a, A) (where a and A are elements of both categories of couples). then produces 21 different permutations of the matrix base 10x10, so that they comply with the rule of not have repeated elements in any row or column. The criterion to perform the permutations is borrowed from the structure of the "quenina," which is a rule of recursion rhymes rhymes created by Queneau watching the sextuplets troubadours of Arnaut Daniel. simple algorithm is a rule (I will not explain, even if it is a long way).
short, so get these Perec 21 10x10 arrays that allow distribution of 42 elements in each of its chapters 100meno1.

Now Perec has 99 lists, one for each chapter, he calls his "cahier des charges". From these 99 sheets
life is born, instructions for use. Of course many of the stories were created or transcribed by Perec above. The story of Bartlebooth had conceived in 1969, for example., Solving a puzzle on a view of the port of La Rochelle. But many other stories, situations, characters, puzzles arise from combinations or oulipiane evoked from the lists. Born just meditating on the lists (and, gradually, over the whole of the novel construction that the building up a chapter after the other). Many of the ideas from the data elements are not identifiable in the chapters, while others are clearly evident.
But it is precisely the idea of \u200b\u200bwhat can be evoked from a list that is upstream of the idea of \u200b\u200bcompositional LVIPLU: a list like a puzzle to be composed / created, made up of real elements and arbitrary rules, an idea very strongly perecchiana .

A note about the specific chapters 3, 29 and 93, particularly mysterious to the vagueness of the facts and people who stay there: its cahier des charges contains several indications of "meaning" of these three chapters that speak of the apartment Foureau but the strongest evidence is the presence of ressort "resoudre une enigma" and "create" (the third is missing, faux). The citations for these chapters may give other directions, but I do not know the sources and I do not want to go and fish out at the moment.
but Chapter 3 is where the ressort "resoudre une enigma" make more history. and is the reason for the mystery of this empty apartment by the tenant can not be located, in my opinion.

(*) Chapter 66 was to be the talk of the cellar in the lower left corner, next to those of Bartlebooth. but, as the series of puzzles Bartlebooth, one of the pieces in place should not be

note: The information and images are taken from Cahier des charges de La Vie mode d'emploi, CNRS Editions - Zulma, Paris 1993

---

from La Vie mode d'emploi: "(...)
Bartlebooth, in other words, he decided one day to organize his life around a single project which did not have a need for an arbitrary purpose other than itself.
"The idea came to him when he was twenty. It was at first a vague idea, a question arose: what to do?, A response that is sketched: nothing. The money, power, art, women were not interested Bartlebooth. As neither the knowledge nor the game. At most, the neckties and the horses or if you prefer, inaccurate but breathing in these futile appearances (even if thousands of people order their lives around effectively ties and a greater number of horses around the Sun), a certain idea of perfection.

which unfolds in the months in the years to follow, organized around three guiding principles: "The first was moral: this was not a company or a record or a rope to climb or a deep ocean to reach. What Bartlebooth would not have been spectacular nor heroic
was simply, fairly, a project, some difficult but not impossible, which is controlled from top to bottom and that, in return, would have dominated in every detail, the life of him who would be dedicated.

"The second was a logical order: without any recourse to the case, the initiative would work as time and space coordinates in which the abstract would be included with a recurrence of events identical
inevitable inevitably produced by a certain date, in a certain place.
"The third one was to order estestico: useless, because its the only guarantee of the free rigor, the project would be destroyed only during the same its future, its perfection would be circular: a succession of events, chaining, it would be canceled: started from scratch, Bartlebooth zero would be returned through precise processing of finished articles.

"So we organized into a concrete program that we can so succinctly stating:
" For ten years, from 1925 to 1935, Bartlebooth would have started the art of watercolor.
"For twenty years, from 1935 to 1955, he traveled extensively, painting, watercolor because of a fortnight, five marinas with the same size (65x50 or 50x64 standard) representing
sea ports. Just over, each of those would Amrine been sent to a craftsman (Gaspard Winckler) and pasting it on a piece of thin wood would cut than seven hundred pieces in a puzzle.
"For twenty years, from 1955 to 1975, Bartlebooth, returned to France, would have reassembled, in order, the puzzle so prepared, because, again, a puzzle every fortnight. Gradually, the puzzle would be rebuilt, the marine would be restructured in order to detach them from their
media, transported in the same place when - twenty years earlier - had been painted, and immersed in a solvent which would not be re-emerged that the paper Whatman , virgin and intact.

"So, no trace would remain some of that operation, for fifty years, had fully mobilized its author. (...)"

These pages of "Life , instructions " describe the thin story around which Perec constructs the vast universe of hundreds of thousands of other stories and characters, objects, described anatomically
and yet with extraordinary poetic intensity.

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Manganelli

Giorgio Manganelli, The character , publisher Archinto

Archinto announced in 2002 the publication of the plays of
Manganelli, unpublished. What will Why? Some folder escaped from the archive of
Pavia? Boh.

However, it is released in the meantime this single act, a monologue, written by GM for the Regio of Turin and never staged. Titled The character and intended, perhaps, Paul Bonacelli, is a single stroke of a voice that becomes more entries and more illustrations, and touches on the classic change of person: Amphitryon, Don Giovanni, Così fan tutte , The Menecmis, Much ado about nothing: the only actor on the stage of this work of Manganelli it carries a continuous dialogue which provides both voices, and whose voices are changing constantly.

The ambiguity of identity is absolute, and is also the issue, at times self-referential text.
How would the staging of this work? Another quote (from the end of failure) shows how the idea of \u200b\u200bthe ambiguity of the character put on stage was designed to converge, among many literary references, to the fiction of the play itself, and to hit that, and
viewers through that.
The great juggler tapir had struck again.

(2002)

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Literature Logs

Antonio Franchini, When we will kill you, master? Marsilio

novels, essays, biography? The three things together. This is the third book
Franchini is at once an essay on the literature, a collection of anecdotal stories about people leaving the world of martial arts, and even a bit 'of autoracconto training, sports and literature, of' author (of which I am going to read Uora Uora well as the latest work, "Gladiator").

But the real crux of this book is the idea that literature has Franchini and how it has to do (must have something to do) with their lives. This is called drawing a strong parallel between literature and martial arts (there is nothing to laugh about, OK?). The result

is remarkable both for its originality and for insight, very enjoyable, as Franchini says what he has to say through the anecdotes and observations en passant - and of course with its unique ability to tell. But
be shared only in part, this result - namely the idea that AF has the literature.
This idea, the writer-guerrieroperfinta Franchini, makes little
leaked a little here and there, without saying so explicitly, a spade a spade, Enervit all'Enervit and the diet-coke-diet coke.
But at some point there puts two emblems of opposite ways (he says)
understanding of literature: Manganelli of "Literature as lies" and the
Michel Leiris to "The bullfighting literature seen as" On the one hand
exaltation, contrite and acrobatic, fiction (
style but not only), part autobiography proclaims the most sincere, honest and direct.
Between the two 'champions', Franchini sides decisively to Leiris (expliciter without saying so), but does so with a little liquidating' superficiality of the grand baroque style of writers like just Manganelli.
On the other hand, among the many piercing observations of this book is also the time when you notice how much the narrative story as the fight in the gym are actually simulating qualcheccos'altro, and how its practitioners will in the end, awareness: the observation that gives meaning to the choice made by Franchini talk about martial arts, literature and personal anecdotes at once, but from which he could easily develop a different assessment of writing as "literature as a lie."
Franchini, tacitly, to avoid further, and tells of many characters
gym, a lot of Japanese literature, books on boxing
and diaries of the war: his declaration of intent, after all, is this telling things in
, people, facts.

Marsilio 1996, 167 pagg.x20.000lire.

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Franchini second of two Jewish women

In dark times. Diaries of Otto and Emma Lea de Rossi Castelli. Two Jewish women between 1943 and 1945 , Belforte & c. Publishers, 2000 Livorno

But the diary is literature? No, right? Yes, right? All right, 'it does not matter.
true facts, true stories, mixed with ordinary daily life and historical dramas and collective superstructure that is probably what makes it so exciting reading two diaries, published on the initiative of the Municipality of Livorno, which tell the adventures of two very different women between them through the same difficulties and anxieties.

Lea Ottolenghi is 22 years old when she is forced to leave Livorno and seek refuge in Switzerland, Emma de Rossi Castelli has already 75 when he has to flee the countryside and move several times to escape deportation and hide from the bombing.
The diaries of these two wealthy Jews who, like many others, must try to survive and escape persecution and war, are not the diaries of Paul Valery, literarily speaking. However, the freshness of everyday life and feelings (many anxieties, some cause for mirth) that leaked in advance, and these books are enough to make reading exciting and involved.

Their situation is obviously the drama of the extermination camp: both (a note in a refugee camp in Switzerland, the other among the peasants of the countryside from Livorno) manage to avoid the worst. Yet it is precisely that normality violated, full of the everyday hardships, humiliation, worry, uncertainty that emerges in their diaries to give a sense of drama with extreme accuracy and effectiveness.
are two very different women, in fact. Lea is a young girl, happy and full of strength in his diary, in addition to the continuous pleas of despair and sadness, also notes there are always funny, sometimes a little 'childish. Indeed, the period from mid 1944 until the return to Florence and the discovery of her boyfriend, is full of positive events - despite the hunger and the lack of news from relatives back in Italy: are pages that communicate a sense of how every little thing regained is a party. Emma
instead is introverted and pessimistic, and the diary gives vent to his particular concern for missing relatives and religious reflections.
In both, however, from the beginning, there is clearly a reaction to the racial laws and their progressive hardening: it is a reaction to pain and almost disbelief at being regarded as foreigners and enemies at home, in their land - and in spite of strong patriotism that is breathed in their families. "Every day - Emma writes in 1943 - are written in the newspapers poisonous articles against the Jews, who are not in good faith and is a real shame .(...) I loved Italy with all his strength of mind My. In the other war I did what was in me to compete in some way to the Italian Army. I can say life is spent in hospitals, I worked to send packages to soldiers in the evening until midnight. (...) And when fascism came to value our victory, so I rejoiced! Poor naive, poor deluded! I did not know what would bring fascism! "

sometimes replace the diaries, literature - luckily not very often.

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Happy Easter ... is a time of peace .. love and light ..





Happy Easter!



In my dreams I imagined a large colorful egg.
Who was he?
for people from East to West:
full, full of surprises
for each country. There was wisdom in

and then so much tenderness,
unselfishness, goodness, joy
in large quantities.
much peace, much love
to fill every heart.

Greetings ...



Light .. Light + Always



Mariana Brasil

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Mariana Brasil in Aosta - 98 March 2006.

March 8 - Aosta.
The Latin American Women's Association of Valle d'Aosta - Uniendo Raices Onlus, on the occasion of International Women's Day 's March 8, 2006, organized the presentation of the book "The manuscript of Sonia," the writer Mariana Brasil will be in attendance.
The presentation will take place at 21 at the Centre for Voluntary Service, in Xavier de coamings 19 in Aosta. Participants, in addition to the author of the book, even Carmela Fontana, Councillor for Social Policies and Alessandra Fanizzi, president of the Regional Council for Women.




Mariana Brasil is the pseudonym that "Sonia" has chosen for herself as a writer. Born in 1966 in the State of Parana in Brazil, has lived with the family of Italian origin in Sao Paulo, the largest city in Latin America, until 1990, when he moved permanently to Italy. Since childhood he has cultivated the habit of writing diaries, and this characteristic has been developed and improved in adulthood, protagonizzando the experiences that allowed her to write "The Manuscript of Sonia", a work that inspired the writing of Paulo Coelho Eleven minutes. The famous author has signed the Preface to the "Manuscript Sonia", Brazil. The author is the representative of ReBr (Brazilian Network of Writers in Italy) and is currently dedicated to the study of the techniques Literature and the family.

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2006 - Light Light ... more .... Mariana Brasil



Light ... more and more light ....
Mariana Brasil

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For Lidia Mingrone - 2005

www.lidiamingrone.it





women of this world

This month we cross the line of Lakshmana by a long passage and opening the door to a world that is often uncomfortable, avoided, but never as real as any reality in the world can claim to be.

I speak of the dark world of prostitution.

We often unhealthy habit of speaking of things without going into the depth of the arguments, especially dealing with issues so pressing, but the prospect of our meeting this month, wants to be just to not make mundane reality and testimonies that are to listen and do their own, because there is nothing so far we have not put in the position can understand something more, just be open to knowledge and express a little 'curiosity towards life.

Nothing is so close to us and our lives more than they want to see.

I want to begin by stressing the importance of the social role that these ladies investing, sometimes more effectively than is being proposed by our work in social services.

To give you a deeper and more real evidence of the situation we are dealing with, I met a writer, a friend first, a woman of admirable strength and courage.

Author of "The manuscript of Sonia," Diary of experience in the world of prostitution, prostitution Mariana Brasil has lived in the depths of its expression. From this manuscript

Paulo Coelho drew inspiration for his best seller "Eleven Minutes" by conveying to the world the experience of Mariana.

It is a woman of great human, who now lives a normal life with a wonderful son and a man who loves her.

I met in his house not far from us (as a small world ...) and talking with her I realized how much the reality that do not know fear, but if we come with a free spirit to the lives of others, we realize that basically we are all a bit 'like the fear and slowly fades away, because it is not justified by reasons that can support it in our logic, but as children who are afraid of the dark, we fear what we can not see, what the darkness holds, our anxieties, our deepest fears, our own desires, because often we are also afraid of want, fear of everything that we do not know.



"I feel an enormous need in humanity to be heard," says Mariana, "when people come there (will be a woman in charge), are to speak. Yes, even sex, perhaps to create sexual fantasies that can not live with his woman, out of shame for some reason or another taboo, but most want to be heard, for the time for which he paid. "

L . 'like a psychotherapist,

M. "yes, there are people who come with a bag so heavy with sadness that I almost feel pain and discomfort, loneliness is a characteristic common to all these men who share with us this space of time which will not talk to anyone, let alone with your partner.

Furthermore, the fact of paying for this time frees them from any obligation or bond and such men's okay, because it is much easier to do things that do not take risks. "

L." How does a woman which is or has done this job then fails within their intimate family to reconcile with his conscience and with the same family this duality, these two seemingly opposite worlds so ... "

M." It 's a constant struggle to find a balance within themselves, which is not very different from finding a balance for all other people who maybe do not like a job or have other problems. The search for all people is to strike a balance, my ... is not different because the people who are not willing or able to find even take drugs, drink, or find another way to not be aware of what they do. "

L." What are the rules of the world of prostitution and what difficulties he meets the woman who wants to change lives, if they really have the will to do it ... "

M. "For what it stems from my experience I can say that the fundamental rule is part of a single master .. God the money.

Sure, there are rules such as numbers, times, and so on, but it's only the money that law ... where there is money there is what you need.

E 'essential to develop and maintain the ability to make decisions, make choices, because life is made up of choices and we are responsible, and also to change its way of life, is the only woman who can trace your way ... certainly not as easy as saying, especially in certain circles that I, honestly, and thank goodness, I know of so thoroughly that it may speak. "

L." You have decided to publish your testimony so that he could be of help to other women, you discovery with the consequences that this entails, you know that in one way or another, these bold decisions have to pay ... how important is the truth ... "

M." The truth sets us free ... I'm free, I know that for many situations of my life I will pay the price for trying to be honest with myself and with whom I have close, but this is a choice ... "

L." And the choice to start ... how much space inside the soul you can keep for their dreams without losing hope of being able to achieve ... "

M." This is also a choice ... making certain choices of dreams die ... and I have many who do not never happen ... "

L." Let's talk about your relationship with Paulo Coelho, as respected the truth of your path in life ... "

M. "Unfortunately, not much. He wrote the story of Pretty Woman, creating a happy ending, even if "Eleven Minutes" is beautiful and thanks to this novel I could make myself known, but this was not my goal, I lived on my skin all that I wrote, not him, gave his own interpretation, for men, not respect fully the truth of my story.

I would like my manuscript to become a white flag ... "

L." ... about this, The first night we met you told me of a Brazilian girl who wrote to you because you helped her to become a prostitute ... "

M." yes, she was like me, had nothing ... so he asked me if I could do something for her, I said yes, I could do something, I could send you my book ... and I did.

Shortly after, Dec. 23 just two years ago, I wrote her and her mother, saying that angels do exist and that I was one of them, I had saved my life ... it was the best gift of Christmas that I could receive. "

L." The goal of your book is therefore to provide support, testimony direct help to those who can be found in a position to make a choice like yours ... "

M." I did think that everyone, even those who feed this world, those who are clients and prostitutes domani.Vorrei that was worth the price I paid for my past and sharing it with the world. "

L." A curiosity ... the kiss ... "

M." In recent years prompted more and more if you can kiss that ... "

L." The Kiss expresses a desire more intimate, connected to emotion rather than to sex ... so the human being is in crisis? "

M. "If this were more and more couples, also in crisis ... their awareness of human frailty makes it very sad ...

I once had an apartment with one room on a square where there was a flower kiosk, you know how many times the man who had just come out from me stopped by the florist to buy a bouquet of flowers to take home to his wife ... this made me want to cry ... every time ... "



It 'really so easy to free from the burden of guilt? Just move it to a bunch of flowers?

However, this profession as old as the world, says Mariana, "will not end never ... ", maybe something will change ... it is all a matter of choice ...

Many thanks Sonia, we raise the white flag and we sit down and reflect in an attempt to take a little 'more than good.



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Lidia Mingrone
www.lidiamingrone.it