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Badiou, the metapolitical, Century, Achmed. A first look

Alain Badiou accusation: "I was not thinking." Franco Buffoni novel in dialogue- already reviewed replied: "the state must not think." In Badiou the meaning of concepts such as politics, democracy, the rule, are something very special. The state, as the actual policy or Alain Badiou singular or not. And here they make their way even more striking aspects of his thought and literary interesting that last spring I have touched upon reading some of his lyrics and his appocciando some questions including the questions: "Lenin is not the prosecutor or of Marx, Mao or is the continuer of Lenin, the Thermidor is or is not the French Revolution? "Badiou no doubts: the sequences never put political leader in a consistent and continuous scans, are increasingly affected by a radical discontinuity. It's the same issue on another site that Badiou has placed about St. Paul that Paul's relationship with Jesus? Is not approachable, says Badiou in Saint Paul. The Fondation de l' Universalism (1997) maintains the relationship with Marx and Lenin? It's the same question, that Gramsci was placed in his Prison Notebooks but Badiou addresses the opposite way, pointing out, that is, the inaugural function of Sao Paulo, and thus "saving".

Badiou has a horror of democracy merchant, electoral democracy, that which takes place with an electoral vote that is how to choose the market. In this way, politics, democracy and equality are nothing more than appendages of the state as well, forms of manifestation of that figure which suppresses the collective thinking in the event that the State is parlamentare. C’è un altro modo, invece, per ricongiungere democrazia e eguaglianza ridando nel contempo significato ad entrambi i concetti: si tratta di intendere la democrazia come pura esposizione del collettivo sulla scena pubblica; un’ esposizione che non tollera che si applichino ad esso prescrizioni particolari, vale a dire enunciati non egualitari. Insomma, per Badiou la democrazia è egualitaria nel suo senso più profondo proprio perché permette di sfuggire alle codificazioni particolaristiche cui è costretto a ricorrere lo Stato come entità. In Metapolitica (Napoli, Cronopio, 2001) egli propone la dismissione delle categorie di “immigrato”, “arabo”, “francese”, in the words "necessarily refer to the State policy and the state itself in its most essential function and lower extremity: the non-egalitarian group of men" (p. 110). At this rate, it also comes with the reasons for the deletion of the name, as a guarantee of anonymity and defense policy stance. And yet I think it will still take a long time for a "White man pimp" is perceived as a racial slur and not punishable as a historical truth. So I think with anxiety of Achmed the stick pointed at the audience, the aesthetic consequences of neglecting the strength of Western archetypes, the recent problems of the African pavilion, and not Only the Biennale of Storr, problems related to the fact that we have nothing else to think that history. The history, the curriculum unpresentable the world, not to be confused with its beautiful and mysterious ruins. The art is to the story after drunken formal and deconstructionist, but Pascal and Pirandello, for different reasons, though the laugh. The first discrediting the story with the usual question of Cleopatra's nose, the second opposing a more effective history of masks nude. Badiou speaks of Heidegger was like calling the event "timpaneggiato" in The être et l'événement ( 1988) but does not quote him directly, and even if he does not, I think understand that prejudice S. Paul instill in the name of the form. I then think to Achmed the philosopher (Genova, Costa and Nolan, 1992) as a follower of Ubu past to Beckett - but some part is really nice as the one on what a "good false alarm" (p. 34 -37. I am surprised, however, that little is known ironically perhaps involuntary nostalgia that evokes all this masquerade masks. Yet in the century (Milan, Feltrinelli, 2006) Badiou also wrote valuable things about Pirandello ... but perhaps the conscience of the mask, which has acted so well in him, not worn because the time is renewed and that, over the Sicilian nel suo teatro c’è molto di Brecht. Ma qualcosa del suo pensiero e del suo teatro, o meglio del rapporto che trascorre tra i due, lo devo ancora definire, e mi disturba. Da meditare e leggere ancora.

Sickness And Diarrhoea Bug December 2009

vs Nori. Ammaniti on metaphors. Critics and living (but also Walter, O'Connor, Hotakainen, Morena, Michele, my sister ...)

Tre flash dall’estate. Una notte di luglio con guida apparentemente spericolata ho condotto a casa Morena, una giovanissima costumista teatrale sottopagata che gira l’Italia a cucire spendidi vestiti. Dopo uno o due punch che forse erano rum e cola avevamo parlato del comune apprezzamento per la poesia di Mariangela Gualtieri e del teatro Valdoca che lei aveva visto dalle sue parti e forse ci aveva anche lavorato, lassù, tra i laghi. Avevamo read something from his copy of Fire Central and then changing the conversation he told me he was looking for the text on the writing of Flannery O'Connor . I find it the next day in the library under the house, in Milan, in Via Cesare da Sesto. At the end of the month at the beach my sister after years of reading engaged in a lot of best sellers Americans, for some 'years of law Ammaniti and appreciates that this year he won the witch and she's happy. I tell him that I reviewed Mud first edition for the university magazine a lot 'of years ago and I have a theoretical discourse, but it seems she has won anyway. Today, however, at the end of August, I wrote Michael, a friend in the spring mi ospitò a Trento in occasione di un convegno su Primo Levi; mi parla di Paolo Nori . Stà leggendo tutto quello che trova di suo dopo Noi Farem Vendetta , romanzo storico che, passata la breve stagione flamboyant della working novel ― e pensando al prossimo libro di Antonio Scurati ― potrebbe essere la nuova tendenza del triennio. Gli dico che di Nori conosco poco e come in molti altri casi mi sono fermato ai primi due libri pre-Einaudi, ovvero all’ormai consolidata vicenda di Learco.
Ma di strada nel frattempo Nori ne ha fatta. E tanta. Senza ragione letta la mail riprendo in man o l’edizione del Cielo dei Violenti dei My parents, having read many years ago and I am convinced that the people living intertwines literature they read. Reading is to become part of the plot big, "like drops of the ocean, as votes." These metaphors not to introduce the discussion case we are talking about today: always, critique and living. And if, in fact. From the site dell'infaticabile Rossano Astremo carried an article by Paul Nori clap of thunder and look lessons (from "Il Manifesto", January 13, 2007) explaining the plot of the above cases:
"I think that the best way to give an idea of \u200b\u200bthe novel shots to the heart, was shot subtitle How the godfather of the Finnish Kari Hotakainen (Hyperborea 2006, pp. 353, € 16, translated by Tullia Baldassarri Höger Von Högersthal), I've read recently is the use of metaphors comparing with those of the novel by Niccolo Ammaniti As God commands (Mondadori 2006, pp. 496, € 19), which I read soon after. Make your two lists. In Amman: "Cristiano Zena opened his mouth and clung to the mattress as if it's under your feet was a gaping chasm" (p. 7). "There was a deafening blast, and the bowl fell apart like it was hit by a Cruise and rigatoni, meat sauce and splashes of plastic pieces scattered over a radius of ten meters' (P. 102). "After dinner the three remained in a coma on the couch" (p. 103). "Now that the big moment had arrived he felt serene as a samurai before the battle" (p. 187). "He shuffled through the apartment in which seems to be over the mercenaries' (p. 281). "He was completely soaked with sweat and goose weighed on him as if he were buried under a ton of land" (p. 365). "He collapsed on the sofa and began to complain of suffering as if they were doing a proctoscopy" (p. 398). "The cancer was eating it if, just like a snake eating an egg" (p. 403). "And you, at that point, as a kid, a Bambi or whatever the hell it was, began agitated, yelling, swinging, to stammer "(p. 429). "They must have some sixty years. One was high and sharp as a praying mantis and the other was small and green as a goblin. The goblin dragged behind an animal that looked like a Tasmanian devil "(p. 439). "He had seen the gulls circling like vultures which have put a dead animal" (p. 446). "He laid a hand on the hood as if exhausted by a marathon" (p. 455). "He turned his head toward the television with the speed of a monkey laboratory under opium" (p. 477). In
Hotakainen: "Men are made of paper, steel is not there ever been" (p. 177). "Coppola it felt like a schoolboy taking the hand which explains for the first time as fitting a model "(p. 190). "Sonny was excited over the top, like a scab that gets irritated at the slightest touch" (p. 216). "Man tries to call the children and grandchildren, and his voice squeaks as the chair on which sat" (p. 262). "The man had replied that if the film was the music and there were the massacres would have been more than willing to see it and would take us too in-law, who is not a fan of action movies but more a type of ice fishing "(p. 264). "For forty years Keränen was always able to go to the bathroom when he fled, he felt as if both were about to bisognini finirgli in his pants without the permission of the owner "(p. 269). "Women are unruly creatures. Are electricity and water "(p. 281). "Laatikainen seemed ready to seal a return to his original life on the shores of Saimaa. From his nose and ears sticking out the hair, shirt unbuttoned and appeared a lock of gray fluff. Apart from income, saw nothing that differed by a seal "(pp. 288-9). "The film I liked, though he was hurt. Brando was the best, one must admit. Whether or not a good man, knows how to play acting. His Vito Corleone was like my grandmother, a fragile person who says what he's quietly. Grandmother spending hours in the rocking chair in the living to mend their nets grandfather. The chair creaked, and his mouth came out of old sayings. They were not rules of life, were shots of thunder "(p. 344).
Now, apart from the seals, it is remarkable that the experience of an almost contemporary Finnish my family I have more experience of my almost contemporary Italian.
me under their feet has never been a gaping hole, I have no direct experience of something from a disintegrated Cruise, I have never seen a person in a coma, or a samurai before the battle, nor a place where the mercenaries were passed (or a lansquenet), I have never been buried under a ton of land, I have never made a proctoscopy, I never saw an egg-eating snakes, or a goat, a Bambi or whatever the hell he was agitated, screaming, squirming, babbling. I do not remember seeing a praying mantis and I have no idea what a goblin you know, let alone a Tasmanian Devil, I have no memory of vultures to "a dead animal, I've never done a marathon (even a short), not I have no idea of \u200b\u200bthe speed at which turns the head of a monkey under opium.
paper, the models, the pustules, the creaking of chairs, fishing, bisognini, electricity, water, I know. Seals little, but I had a grandmother who spoke well, with shots of thunder.
A friend of mine with whom we spoke recently the fact that the books are written with the eyes, called me yesterday and I read on the phone a piece of Flannery O'Connor taken from In the devil's territory, on the mystery of writing (Minimum Fax 2002, pp. 150, € 7.50, edited by Robert and Sally Fitzgerald, Italian edition edited by Ottavio Fatigue). Today I was in a bookstore and bought the book. The piece is this: "The narrative works through the senses, and one of the reasons why, in my opinion, writing stories is so difficult is that we tend to forget how much time and patience it takes to get through the senses. If people do not give way to experience history, to touch, the reader will believe anything that the narrator is limited to report ... I have a friend who is taking acting lessons in New York, a Russian lady who has a reputation for being an excellent teacher. I wrote my friend throughout the first months have not given even a joke, but only learned to look. Learning to look, in fact, is the basis for learning any art, except the music. Many of the storytellers who know paint, not because they are gifted, but because it helps them paint to write. Forces them to look at things. "

Milena Velba Fan Club

Clare of Assisi: Second Letter to Blessed Agnes of Prague

what you got, keep it, what you do, do not stop, but with a quick stroke with a pitch leggero, senza ostacoli ai piedi perché non raccolgano la polvere del tuo cammino, sicura, gioiosa e vivace, cammina prudentemente sul sentiero della beatitudine, non credere a nulla, non consentire a niente che ti voglia allontanare da questo proposito o che ti presenti un intoppo sulla via. [...] Se qualcuno ti dicesse altre cose, o ti suggerisse altro, che possa impedire la tua perfezione [...] rifiuta senz'altro di seguire il suo consiglio.

...

Free Vintage Clips Of Long Dong Silver

George Seferis: the last stage

....
Veniamo dall'Arabia, dall'Egitto
e dalla Palestina e dalla Siria:
Veniamo dalla sabbia del deserto
e dai mari di Pròteo, anime raggrinzite da pubblici peccati
ciascuno col suo rango come l'uccello in gabbia.
And the rainy autumn in this hole in the scourge of each
disdain - to use other words, the nemesis, destiny,
maybe just bad habits, "fraud, deceit or selfishness
to speculate upon the blood of others .
...

Licensa Mahjong Medley

The ugly power, the municipality damage, the empire.

In one of the first post Ratzinger wrote in his critique of the principle and the hope of Broch. A few days after I learn of the "motu proprio" of the Pope and I expect a flood of reactions. But first I read only the Latin Mass which welcomes Ceronetti the columns of "La Stampa", in the face of Latin but hardly full of "ugliness" is used ironically in the Vatican document revealed by Carlo Ossola on the pages of "Sunday" Il Sole 24 Ore ". But the question of Latin is less. Ratzinger's document in this matter closed with the lunatic fringe of those who wanted a heterodox reading of certain passages of Gaudium et Spes, where we talk about unity and universality of the Church, Ratzinger resumed some ideas already put forward in August 2000 in a "statement about the uniqueness and salvific universality of Jesus Christ and the Church." After the '68 point of opening centered on the idea of \u200b\u200bits uniqueness and universality. Said in Parliament poor: Jesus came to save everyone, so the church is because you need to identify l'intera umanità. L'unicità e l'universalità della chiesa dopo il Concilio vennero interpretati come principi di non esclusione degli altri . Non ci sono i "sommersi e i salvati". Siamo salvi tutti. Ratzinger invece corregge significativamente il tiro bruciando trent'anni di progresso, per cui quelli di "Rocca" e tanta altra sinistra cattolica da Gozzini in avanti dovrebbe mettersi le mani tra i capelli. La Chiesa è unica perchè c'è nè una, ci ricorda Benedetto, e quell'una è la sola chiesa cattolica romana, con buona pace dei fratelli orientali. E poi, è universale non perchè riguarda tutti, ma perchè il suo magistero deve estendersi e valere su tutti: all are called to comply with it is legitimate and that his power extends to the universe-world. Forgive me for the vulgarity of the exhibition is not worthy of the great-grandson of the theologian translator of the New Dutch Catechism, but I'm sure I do not want my uncle if I try to be clear to the risk of appearing disrespectful. Yes, because the situation is serious. The restoration and closing raise their voices: enough with the postmodern mush where anything goes: "The church is this and do not sweeten the pill. Take it or leave it." If the strategy of John Paul was bringing the Church the world, opening up to the demands of modernity (if no other communication) and addressing some risk heterodox strategy dell'intelligentissimo Benetto objected, and now winning. This is bring the world to the Church . It is a play on words specious. Benedict has understood something fundamental, a point that unites and puts it in perfect harmony with many young people of my generation, the now posthumous post-modern have learned the first lesson of relativism, and then from this relativism have taken a force on but indisputable. That is a truth of "particular" memory of Guicciardini. In a world where there is no basis for absolute truth, it is permissible to cheer for, paradoxically, an absolute truth and absolute faith, even if unfounded. Infuse will often die in the name of a faith, and this belief is often for a pennant, a IN VIEW, the top club in a listed company. This belief is irrational but real and factual. Move million. You do not need the enthusiasm for the truth. No need to attack the truth. You do not need any truth to set up power or power that dominates our lives. This is a first point of concern. The second concern I get from politics and the conflict with the judiciary, and I used to refer to the problem of interceptions for Antonveneta to climb but at a resolution unanimously adopted by the Plenum of the Supreme Council of Magistracy and July 4, 2007 too much publicity in proportion to the importance of the news che praticamente ci informava di un pericolo reale per la democrazia: di un conflitto di potere di proporzioni immani. La risoluzione riguarda i servizi segreti e dice che è stato il Sismi in sè stesso e non i “settori deviati” del servizio a svolgere l'attività di spionaggio nei confronti di magistrati. Dell’archivio segreto di Pio Pompa in via Nazionale a Roma è emerso che il servizio segreto ha svolto un’attività “estranea” ai suoi compiti con lo scopo “intimidire” e far “perdere credibilità” ai magistrati. Perchè metto vicini questi due elementi? Perchè se il reciproco controllo che è base dello stato costituzionale di diritto mostra le sue debolezze in una dynamic to discredit or conflict once again to emerge victorious is the charismatic appeal a position to know says that ethically good, and the face of such disorder, calm, offers us his absolute solutions. Net, simple, apparently not entirely unfair. To think of this tabto Giacomo Leopardi and those wonderful verses and terribiuli To himself cites where the "ugly / common injury that can conquer ... property where the power of ' enjambenment perfectly balanced between rejet and contra-rejet seems insensitive question, me and the reader the future, like a sphinx.

Brazilian Wax Every Month

Trying to light. On Franco Buffoni.

Accade che un libro, al di là delle premesse su cui è fondato, susciti nel lettore un particolare entusiasmo. È quello che mi è accaduto leggendo l’ultimo libro di Franco Buffoni, già segnalato tra i consigli di lettura per l’estate. Difficile stabilirne il genere: l’autore lo ha descritto come un romanzo ma la definizione non mi pare del tutto calzante, e personalmente lo trovo più affine alla saggistica memoriale, sebbene presentata in forma inusuale. Si tratta infatti di testo dialogico tra l’autore e il nipote Piero, un giovane di poco meno di trent’anni che si definisce marxista, partecipa ai cortei anti globalizzazione e simpatizza con i frati di Assisi. Il testo is interspersed with poems or parts of poems and several letters to his father, three, one in Giacomo Leopardi, two to his nephew, and a final, merciless Letter of Peter to his uncle - who in a recent presentation by Stefano Raimondi has wisely decided to read as incipit.
"God, war, homosexuality," as the subtitle, are the main themes, but even if there is already so to say, in the book are food for thought that open up perspectives for me even more interesting primarily the problem of counterfeit cultural relativity and the various "cultural traditions" and "civilization literary. " Among the readings Buffoni cites examples in this sense obviously false belief De et Constantini donation LY (1440) by Lorenzo Valla and the Defensor Pacis (1324) of Marsiglio of Padua (in which, about religion, expression is best Next the idea of \u200b\u200bVolterra "pious fraud"), but also the parable of Cecco d'Ascoli in front of the pietas Virgil and Dante dared to propose "raxone but no pity." According to the
Buffoni pietas must become a civic virtue divorced from Christian metaphysics, a 'human heritage ", a value as an atheist state constitutional law: the heir of Mill, Hume Gladstone and the Moscow and Pareto, however, does not describe a path Buffoni banal "secular" but in the wake of Berkeley, Clarke, Leibniz, Jacobi, Muratori, and Genoese, open to Christianity and the "positive religions" just from a crucial question about the reason of the evil in human life. While recognizing the importance of his beloved master and Fortini Raboni specifically takes the distances when the two sides seem to favor the "true saint" Manzoni, instead to re-establish ties with the solitary genius of Leopardi reader of Lucretius and forerunner of the theory of "deep time" by SJ Gould, the Leopards that in the face of terror faute de mieux "devout atheists" still responds with the courage of his Broom, "while Manzoni, remember, after the death of Charles Imbonati had abandoned the ideals of Verri and Beccaria to turn to the most reactionary Catholicism, in perfect harmony with the ideals of the new leadership of Austria" ( p. 161). Manzoni and Rosmini in the nineteenth century to conceive of a universe built for the man and his needs was madness. This was the lone "madness" of Leopardi, a "madness" that atrocious mockery of scientific historically recognized, there is still passed for "pessimism."
The reader of this book, however, is also facing an autobiography and intellectual family, but placed on the floor of the ethical distinction between the state and rule of law (and the consequences of choosing whether to stay by either party). If Montale stated "what we are and not what we want," Franco Buffoni, as Sandro Penna, who he is and what he wants to say it loud and clear: "Yes I am an atheist, homosexual, Enlightenment and anti-prohibitionist. And I support the pure scientific materialist Darwinism "(p. 145). In this philosophical dialogue, in which the counterparty has the function of "fast-forward speech," Buffoni explores those areas of reticence that prevent real progress in literature and in society, or whose value is the dominant and ubiquitous, although not reasonably founded. The intellectual trajectory that emerges from reading this text seems new in the "literary" national or at least fairly rare in twentieth-century Italian, open for the clarity with which he presents his ideas, facilitated by artifice in this style of dialogue:

Among those who do not master your trinkets? [asks the grandson]
I told Zanzotto. I admire his courage in
the scientific data and the effort to absorb it, incorporate in its poetic
.
But do not love him I love more
Cattafi or Caproni ...

Continuatore della tradizione illuminista che fonda lo stato di diritto in contrapposizione allo stato etico, Buffoni si oppone dunque con fermezza al potere simbolico e materiale di quelle istituzioni che pretendono di prevaricare la libertà civili, e lo fa affidandosi al modello intellettuale di Richard Rorty e a quella tradizione anglosassone di empirismo e logica che va da Ockham e Bacone e, per venire a tempi più recenti, trova i suoi modelli di riferimento in G. E. Moore ed in tutta quella tradizione “analitica” che parte dal rasoio di Ockham e arriva alla cosiddetta “forca” della ragione di Hume. Sulla scia dei "fondamenti della conoscenza epirica" di A.J. Ayer, rifiutando l’esistenza di poposizioni ethical grounds: "I am in fact to argue that the only genuine propositions are those of logic and mathematics (whose truth depends on experience) or that of empirical science (which are set out on the basis of observations)" (p. 129).
In the name of this atheistic view, that something has also recommended History of Atheism George Minois, Buffoni read any human weakness attracted by the great myths of the poets, the great men and great ideals. And this is where you find a piece of literary history that does not find a scan as systematic and clear even in the manuals of literature. And no mention of the usual blunder of Ungaretti for fascism: rather, is to reconstruct fascism as "category of the spirit," and refers to both Buffoni about Isherwood sympathetic to the U nion of Fascist , as Auden attracted by the power of Stalin. We are therefore the
Phares but are not what you'd expect from a poet. In fact, few poets, "because you love poetry," many scientists in the name of research to support positions are "uncomfortable". Belong to this group in the history of those who knew not to be seduced by totalitarian ethical or who deserted the "eternal values" of "honor" and "duty." Certain officers and graduate as Vittorio Sereni were ethically obliged at the front, but also meant to become career officers, and only giving up status also material relating to this party "doing one's duty" could escape the dynamic of history.
But as it then? How to think the defection as a value? Raboni analyzing the correspondence Bertolucci-Serena shows this discontinuity between the two: Bertolucci remains private and Stash very soon translate his Ronsard, Sereni instead answered "present" call - and then complain in the coming decades has not could not answer that other call, that of resistance, which would give some of its values \u200b\u200b Cameraderie all another sense. Yes, because Buffoni tells us not out of hand values, so to speak, "Trench", which are not crap. The camaraderie seen as Camaraderie it meant much in the idea of \u200b\u200bman's social. In war you are criminally spent (and off) the great values. Bianciardi sottotenentini reminded that they are always the young students of twenty years to bring farmers and workers in the massacre. This innocence that drives the innocence and good faith, sacrifice, team spirit, solidarity, "the joy, life, human values, all this good was something visible and present in the minds of those who had tried on propria pelle, e si parla di almeno un paio di generazioni nate tra il ’75 e il ’99 dell’Ottocento. Più difficile cogliere la dinamica per cui questo bene, al soldo dell’etica di uno stato belligerante, si trasformasse in male. Questo è l’osceno. Questo l’inaccettabile, per Franco Buffoni. Ma, ancora, come vederlo? Alcuni ci riuscirono anche in quegli anni, qualcuno, come il Tarchetti di Una nobile Follia, che precorreva i tempi parlando della carneficina della Crimea, ma i più, supini, si bevevano le balle della “religiosa ecatombe” promossa da Croce, la “risvegliatrice degli infiacchiti” di Papini, la “sola igene del mondo of the future "and so on. Few, even among the professors, said no when the leader asked them to swear loyalty to the regime (fourteen he has Buffoni, Fabio adding Luzzatto and Piero Sraffa to twelve analyzed by Giorgio Boatti in his fine book entitled Melvilla 'd rather not , Torino, Einaudi, 2001). There were therefore "non-aligned" as the group of Justice and Freedom feondato in Paris in 1929, there were Arturo Carlo Jemolo Bonaiuti and Ernesto, Ernesto Rossi and Mario Pannunzio but acted more like Saturday Nicola Pende and Visco which, although they were reluctant managers to endorse the racial laws with their scientific authority. Cases like those of the Socialist Torquato Nanni (first biographer of Mussolini for the "Voice" of Prezzolini) that stands between the bullets of the partisans and the body of the fascist "critical and maximalist" Arpinati Leandro, are memorable because of their uniqueness.
But as I said in the book is not only the social history of ideas but also the lives in "first person" el'intreccio close the two planes. And this last feature, this attempt to proceed in a speech unit, I think the most original figure of this "novel essay: there is the struggle with a father Catholic reactionary, reader of the" Corriere "to the" scandalous "management Brass that led Pasolini on the first page a father of course unable to accept the homosexuality of his son, who is stiff even when he learns that the Jesuits led the students to see the Gospel according to Matthew. An officer who fought that Alessandro Natta in his 1997 book defines as the other resistance or the resistance of those who took the oath of the "Italian Social Republic" Salo and for this he was interned in prison camps in Germany . Franco Buffoni's father and others like him had sworn allegiance to the king and were intolerant of the word "republic" which is no coincidence that in the Lombard dialect means something very marginal, as recalled by Luciano Erba in his poem "When I went to buy the mustard / My mother said to me while we go / give some facts' of the republic / leftovers which meant that they were / remained on the bank of the pork. " (Who cares here can remember reading another story about Erba). His father, a reactionary Catholic, a fervent monarchist educated by the fascists, is therefore a prisoner of the "allies" in the name of a German "honor" the value will be disregarded in post-fascist and two years ago as an intern in the fields of German detention. Freed from the "enemies" Russians, Americans and English is faced with a crisis grnade. What could be the result? Unfortunately not un (pur difficile) ripensamento e messa in discussione dei propri valori, ma un cortocircuito dalle nefaste conseguenze…
avendo debordato, voglio concludere ricordando cosa mi ha detto l’autore in occasione della presentazione del libro, nella libreria di un Parco Sempione arroventato dal sole di luglio: "Michaux dice che per comprendere l’intelligenza deve sporcarsi, essere ferita". Ricordo che un tempo volentieri mi affiabiavano il nomignolo “Pig Pen”, come il personaggio dei Peanuts ; quanto alle ferite, non posso che stupirmi del meraviglioso funzionamento dei globuli bianchi dell’anima. Quando ci permette di rialzarci.