Book: Petrolio, by Pier Paolo Pasolini. ITALIAN AUTHOR AND journalist. Roberto Saviano is no stranger to censorship, hav- ing lived under police protection. The literary, critical, and cinematic auteur Pier Paolo Pasolini may not look 7 La Porta thinks that his investment in the fragility of the present in. Fossil fuels VS Renewable energies – Texas Monthly · Cyber insecurity – The Economist · Get your investments off the ground – Kiplinger. PHILLIES NATS GAME

A mask over her eyes and her hands gloved in black leather, she tries to isolate herself from the glamorous, social context of the art, and shield herself from influence. The artist is a product of a specific context.

Yet seeking to transgress this obvious fact through ways of being and living is what I find crucial. Can you give us a few words on your project for the Marcel Duchamp Prize? It's a number of films mirroring one another and executed using a repetition that I quite like. The editing began soon after the start of filming and ran until summer this year, as there are thousands of possibilities for this choral film that involves 24 of my friends, former students, work contacts, family members and loved ones.

Taking an open cue from a biopic by Abel Ferrara, one of my favourite directors, I asked each of them to take turns embodying the roles of Pier Paolo Pasolini and his young lover Pino Pelosi, who admits to his murder before retracting his admission decades later. I also directed long biographical interviews with the actresses and actors. They will be presented as part of the installation at the Centre Pompidou in Paris in the form of individual booklets that visitors can read in situ or take home.

Where will you be exhibiting after the Marcel Duchamp Prize? It is a fifteen-hour film broken down into episodes showing groups of young people preparing actions against emblems of ecocidal capitalism targeting industry and technology in Grenoble — a model science and technology hub. The inexperience and failures of the characters have a comic effect in the film, but one that is also esoteric and at times opaque.

Published posthumously, Petrolio is a novel made up of entirely disparate fragments that move from fable to investigative journalism to erotica. It is the story of Carlos, an engineer working in oil research, who has an erotomaniac split personality. He and his double cross s and s Italy, its political tensions and attacks, its economic boom, and the ensuing changes to nature and the landscape in particular. In this way, Petrolio is a harbinger of the current struggles around ecology.

Over the course of the story, both Carlo and his double transform to become a woman, and then a man again, and go on a kind of initiatory journey within what we know Pasolini saw as a deadly modernity. This document is an advertisement and has no contractual value.

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Indeed, thanks to this felicitous performance, philologists have, previously, often only seen that meaning which the lyrics have within the libello and which appears to be true and definitive, finally uncovered and revealed. Some have even main- tained that once placed in the Vita Nuova the lyrics lose their status as individual and independent poems and must not then be 16 M. Picone, «Leggere la Commedia di Dante», in G.

Pi- cone eds. I: Inferno, Cesati, Firenze , pp. VI , pp. It therefore includes all of the lyrics, even those incorporated in the Vita Nuova, aiming to recreate, archaeologically, the original chronology of their compo- sition and reading them also with their earlier significance which is later deleted by that assumed in the libello There remains, however, the sense that an author exists, or that the pieces of the text written at different times may be held together by the function of the author, by the continuity of his experience and by his action of documenting them.

Barolini, notes by M. Gragnolati, Rizzoli, Milano In the Inferno, then, this Italian is spoken, in all of its historical combinations: osmoses with Latin both classical and medieval , dia- lect-Latin intersections, koine—Latin, Latin-literary vernacular, technospeak- Latin: and also dialect-koine, literary vernacular-koine, technospeak-koine; and also, etc.

The note is indeed written from the perspective of an editor who decides, after the death of the author had taken place in Palermo the previous year, to publish all the material that the author had left in the form of notes according to the order of composition. We would be dealing then, even in this case, not with an operation like that of Vita Nuova, but like that of an editor who, as in the case of the Rizzoli edition of the Rime, attempts to reconstruct the material which Dante had at his disposal to put together the Vita Nuova even if, in the case of La Divina Mimesis, this material still had not been published.

What I would like to highlight is that within this project could also lie the idea of an author who wants to write a book but has been unable to follow it through to completion. XIV, No. Grignani, «Questione di stile», in C. Be- nedetti and M.

Grignani eds. Pasolini interroga la The form in which the text was published in negates the plan expressed in Notes 1 and 2, namely that the author would have brought the work to completion in the form foreseen by them, and confers instead the sense of a plan imagined in the past but then not realised and, above all, no longer realisable.

The achievement of this performance is one of the aspects of La Divina Mimesis which I find most intere- sting, and the hypothesis that I would now like to propose is that this operation has some important connections with Petrolio. In general, the critical discussion has focussed on how La Divina Mi- mesis opens up a new method of representation which, notwith- letteratura, Longo, Ravenna, , pp.

Borghi, «Poesia e metalinguaggio», cit. Lawton and M. Bergonzoni eds. The decision to insert the Iconografia, taken by Pasolini at the last minute prior to the publication of La Divina Mimesis, seems to be tied to the plan to insert some extradiegetic docu- ments into Petrolio, including iconographic material. The inclusion of the Iconografia ingiallita is the first sign of the deep connection between La Divina Mimesis and Petrolio.

The expression «ingiallita come una vecchia fotografia» RR II, actually appears in a section of Petrolio which is itself a Dantean rewriting and which displays a number of points of contact with La Divina Mimesis. I refer to the part called «Visione del Merda», in which the protagonist follows a repugnant youth known as «Il 21 Among the observations on this topic, I find those made by Robert Gordon still to be very important: see Pasolini: Forms of Subjectivity, Oxford University Press, Oxford , pp.

See also A. It is an ironic and desecrating rewriting of the Dantean Inferno, the traditional sins of which are replaced with new, standard ways of being which Neocapitalism and the new consumer society im- posed on the lumpenproletariat, causing it to lose its previous characteristics and transforming it into a pathetic imitation of the petty bourgeoisie: conformism, respectability, brutishness, cowar- dice, false tolerance, vulgarity. These episodes describe certain situations from the lost and lamented past and outline the sexual encounters of the double protagonist, transfor- med into a woman, with several men of lumpenproletariat.

Although this type of shattering may seem to be negatively charged, Leo Bersani has made claims for its para- doxical pleasure, maintaining that sexuality is ontologically founded on masochism, which seems negative only from a bourgeois per- spective that domesticates and represses sexuality according to a normative, teleological model of heterosexual reproduction On homosexuality in the works of Pasolini, see the articles in S.

Casi ed. Fusillo, «Il protagonista androgino: metamorfosi e ruoli sessuali in Petrolio», in P. Salerno ed. Bazzoc- chi, I burattini filosofi. Pasolini dalla letteratura al cinema, Mondadori, Milano , pp. Belpoliti, Pasolini in salsa piccante, Guanda, Parma Fusillo, «Il protagonista androgino», cit.

West, «Da Pe- trolio a Celati», in C. Benedetti and M. See also F. Gragnolati and S. Fortuna eds. I will quote here a short passage from it, which gives a sense of the dimension of sacred ritual with which the protagonist undertakes this masochistic submission: Una specie di soddisfazione cosmica coesisteva in lui con la meravi- gliosa vertigine e la sconvolgente contrizione di schiavo ubbidiente a cui quella pressione di Carlo sulla sua nuca lo costringeva.

E fu un nuovo sprofondarsi nel meraviglioso martirio. Ora egli aveva in mano il sesso nudo: il miracolo si era dunque realizzato compiutamente. Berwald and G. Thuswaldner eds. And it was a new plunge into marvellous martyrdom. Now he held in his hand the naked sex; the miracle was completely fulfilled.

Dunque, conoscendo un tale cor- po era ovvio che se ne dovesse conoscere — nella sua concretezza storica — anche la sua vita. Amando tale corpo era ovvio che se ne dovesse amare anche il suo mondo» RR II, On the cognitive potential of homosexuality according to Pasolini, see S. Le ragioni di Pasolini», Aut Aut, Vol. Belpoliti, Pasolini in salsa piccan- te, cit. Una ri- flessione su Petrolio», Aut Aut, Vol. These episodes, nonetheless, have an almost spectral atmosphere which makes them appear as the ex- pression of a lament rather than a faith in the present or hope in the future.

It is a deeply pessimistic vision of the present as a state of corruption and decadence which, as Armando Maggi has recently suggested, has important consequences for sexuality and desire, charging them with a negative, funereal dimension. Nothing of the once-loved world is preserved and, although the description is often ironic and at times even amusing, it is a truly freezing air which runs through the «Visione del Merda».

Maggi, The Resurrection of the Body, pp. The detached and disillusioned voice of the author thus ends up continuing to make itself heard and, instead of disappearing behind the convention of the tradi- tional narrator or blending itself with a character, as in the Ro- man phase , it is ever more present in the work. Instead, Pasolini wanted to ad- dress the reader «direttamente e non convenzionalmente» and to speak as himself, «in carne e ossa» ibid.

Genovese, «Manifesto per Petrolio», in C. Grignani, «Questione di stile», cit. Desire no longer manages to find an object but, instead of renouncing it, Pa- solini remained true to it and tried to adapt it to the changing situa- tion. In particular, even if in the absence of otherness his desire im- plodes and could seem self-referential or narcissistic, his impegno does not wane. It does, however, take another form: no longer in the Marxist mould of the past but, as we shall see, a form which could be closer to the queer position in the recent formulation of- fered by Lee Edelman in his provocative and widely discussed book No Future: Queer Theory and the Death Drive Genovese, «Manifesto per Petrolio», cit.

Bersani, The Freudian Body, cit. Scritti su Pasolini, Manni, Lecce , pp. Patti ed. On the pedestal of the statue Carlo reads the epigraph «Ho eretto questa statua per ridere» RR II, , which is then repeated in the following appunto, and refers to the very operation of the Pasolinian novel.

They do not, then, withdraw from the world; rather, they participate more intensely; and the more intensely, the more in bad faith, necessitated by the lack of alternatives and understood as parody. Pasolini is reflecting on the fact that the change produced by the new condition of society has pushed him toward a new form of impegno, which no longer corresponds — as it had in the past — to a Marxist ideal of realism or to the celebration, sustained also by an erotic attraction, of a salvation-bearing otherness, but to the disillusioned satire of the conformist behaviour of a class once loved and now fatally corrupted.

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It was a new beginning: he forged a strong relationship with the city and especially the borgate, the peripheral areas inhabited by a deprived underclass, which he called a grandiose plebeian metropolis. Instead, Pasolini used these works to present an ongoing transition: the end of an old epoch that belonged to Southern peasants slowly losing their century-old traditions and to Romans who had lived as a community without being absorbed by the Vatican or other powers.

Pasolini was interested in these outcasts, whom he presented with a sense of nostalgia. Since they were excluded from everything, they remained uncolonized. Today, the ones who could not become petit bourgeois lost their sense of belonging as the world changed around them. Unlike a number of other Italian leftist intellectuals, many of whom had a quasi-mythic vision of the working class and the underclass or saw them as monolithic, Pasolini actually knew the people he wrote about.

The eponymous book was published in , but Pasolini had written the poem in , before the watershed year of when Soviet tanks arrived in Budapest, causing many PCI members and fellow travelers to break with the party. But neither nor mark the first signs of tension between Pasolini and the Communist Party. For the first and only time in his life, he was a full-fledged PCI militant and respected local leader, who attended meetings in Paris, Hungary, and across Italy as a party delegate.

But his stature within the party did not prevent him from criticizing it. Conversely, he grew closest to the PCI at the end of that decade, when the Communist cultural world embraced his second novel, A Violent Life. This interesting and little-read especially outside of Italy corpus was published in as The Beautiful Flags. Despite this collaboration, Pasolini never became a full-fledged organic intellectual. He always looked for different audiences.

In the last phase of his life, he wrote for Il Corriere della Sera, then and now the main outlet of the Italian bourgeois establishment, which an independent journalist, Piero Ottone, was editing. There, Pasolini wrote the most polemical pieces of his life, perhaps feeling free from any constraints in this neutral, if not unfriendly, venue.

The PCI is a clean country in a dirty country, an honest country in a dishonest country, an intelligent country in an idiotic country, an educated country in an ignorant country, a humanist country in a consumerist country. One of them, Vincenzo Cerami read a speech that Pasolini was supposed to give at the congress of the Radical Party if he had lived — at that time a libertarian-minded force on the center-left. In that speech, Pasolini once again emphasized his Marxism, his support for the PCI, and his great hopes for the new generation of Communists.

As a nonorganic, heterodox intellectual of the Italian left, Pasolini understood before many others what role the intellectual would play not only in Italy but in the rest of the Western world. In one of the first issues of Officina, a cultural and political magazine that he created in , he wrote that Marxist intellectuals were essentially living a contradiction. They spoke to a bourgeois class that did not want to listen. Certo rimane un abbozzo indecifrabile e ingiudicabile. Da sue dichiarazioni mentre lo scriveva pare dovesse essere una summa di tutte le sue esperienze.

Oggi, con il senno di poi, un testamento. Proprio la doppia faccia del potere, messo sotto attacco mediante una lunghissima invettiva politico-sessuale. Siamo negli anni Sessanta, del boom economico, del ritrovato benessere del Paese. Il diavolo tira fuori dalle sue sordide saccoccie un coltello, ne infila la punta nel ventre del corpo di Carlo e vi fa un lungo taglio. Poi con le mani lo apre, e da dentro le viscere ne estrae un feto.

Che in un attimo diventa adulto. Lo scrittore ha cercato di portare alle luce i misteri italiani di quegli anni e ancora tali restano oggi. Il libro contiene centinaia di citazioni, esplicite e altre meno. Cito per tutte il viaggio in treno di Carlo verso Roma Appunto 6ter.

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