We receive from Mario Campanella and gladly publish
One hundred years ago Pier Paolo Pasolini was born, a brilliant young Friulian with a vocation for writing and poetry. He was a communist but Tito’s communists killed his brother because he was Italian. His party, the PCI, expelled him for being homosexual. That young man conquered culture with ruthless, lucid analyses, identifying consumerist decomposition as the enemy of a future destined to overthrow ideas and projects. He shot memorable films, representing eros and spirituality in a contemporary key, reaffirming the supremacy of ideas over matter as a layman. In a testament article on the Corriere della Seralaunched the accusation against the system, hooking the massacre drama to a well-defined strategy that tended to separate young people in the name of an anti-fascism in a way to strengthen the pre-established power. He was killed under mysterious circumstances.
From Pier Paolo Pasolini to Roberto Saviano
30 years after his death, another young man, Roberto Saviano, from Naples, wrote a book about his city, describing an isolated and residual segment. A stereotyped narration of one of the most beautiful Italian cities, a beauty brand in the world, which was successful and successful. Millions of copies sold, films and fiction, stratospheric royalties, substantial advances on future books. Thus he became an intellectual icon of the left. Words of circumstance against Berlusconi and the army of right-wing danger were enough to acclaim him as the protector of a progressive world that sought his consecration in the idolatry of nothingness.
The intellectual stripping of the elite left
From Pier Paolo Pasolini to Roberto Saviano, the intellectual scrutiny of the elite left brings out the bare stripping of a paradigm tending towards liquidity that has made removal prevail over analysis. Saviano the “brave”, tutelary deity of ghost hunters, who dresses as a guru to bring Italy closer to Poland, to anathematize a very uncertain future now that the right is fully welded to the leadership of the government. If in fifty years the left has gone from the cover of an extraordinary and visionary intellectual, eternally hooked to the present, a common heritage of knowledge and beauty to a cantor sower of phobias and proclamations, something must have happened.
That intuition of Teodoro Buontempo
Teodoro Bontempo, with the wisdom of the humble, was able to re-propose Pasolini on the right over thirty years ago. And it is no surprise that he appeared in the founding pantheon of the Brothers of Italy. Because Pasolini was longitudinal in his description of a confused identity. He proletarianized protest, defended the indefensible, above all he exhorted to seek beauty as goodness in the roots. Saviano is a sort of contemporary invention. A perfect machine of material consensus to which are added fears, fantasies and imaginative projections that a part of this country has always appreciated. Electing him as a representative of a social resistance is an exercise in immense courage. Behind his attitude seasoned with mimicry as a seasoned actor, there is nothing. Not even the Secondigliano that he unjustly portrayed as a conglomeration of drugs and illegality.
Pier Paolo Pasolini’s studio
Pasolini requires study. It is complex, sometimes difficult to understand. Contradictory but at the same time coherent. Both when he interviews Ezra Pound and when he recounts the most revolutionary aspect of Christ in the Gospel according to Matthew. To put them on the same level is blasphemous but it is the natural mirror of what the Italian left has experienced. Moravia predicted it, speaking at Pierpaolo’s funeral, warning that such a man would not be born easily. The present has given us Saviano, the fruit of a decay that shows no signs of passing. And he flies unchallenged over our innocence.