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At the end of a long indictment, the prosecutor of Genoa Anna Canepa and Andrea Canciani have requested an overall sentence of 225 years in prison for the 25 protesters charged with destruction and looting in the process the events that occurred during the 2001 G8 a Genova. La pena più pesante, 16 anni, è stata chiesta per la 41enne lecchese Marina Cugnaschi, imputata anche per altri due reati e considerata dagli inquirenti membro dei "black block"; richieste di condanne ultradecennali anche per Alberto Funaro e Francesco Puglisi (15 anni a testa), Vincenzo Vecchi (14 anni e 2.500 euro dei multa), Luca Finotti e Carlo Cuccomarino (12 anni). Per gli altri sono state proposte pene comprese tra 10 e 6 anni. «Chiedo a voi tutti - ha detto Canciani in aula - una volta accertata la responsabilità delle persone, di avere il coraggio di chiamare le cose che abbiamo visto con il loro nome, devastazione e saccheggio, come avremo il coraggio di chiamare massacro quello che è avvenuto alla scuola Diaz». Things, in fact we must have the courage to call them by their names. Accepted the invitation and we draw some conclusions. Devastation and massacre. Of the former are responsible for the civilians, the second law enforcement. He's fine. It's time to think accordingly. Years in prison for those machines has cracked and windows, even jail for those heads to people. They are the most important people or things? The answer is obvious but I think the violence will not be Bolzaneto Stan to root. For the 45 defendants to the facts of the barracks hovers prescription. Also promises to pardon and prescription for the 29 police officers recognized as one of the leaders of the infamous raid at the Diaz. On the one hand the "guilty" in the flesh, scapegoats, the "violence against things," the other "servants of the state", the guarantors of order, protected by the system which guarantee that we can be grateful for a great injury and a maldigerito guilt. "The servants I treat them well." "The servants must respect them, do the dirty work that us ladies do not want to do." "They keep the things that can or could be mine." "We can punish them, yes, blame never." Appalling hypocrisy of language. Serve. Jesus would be with the servants. Pasolini as well. Then everybody took it. He said it was ironic poetry. Perhaps he really was. Definitely ironic l’idea di pensare che da una parte “giustizia è fatta” perché ci sono i colpevoli in carne ed ossa, e dall’altra “giustizia è fatta” per un risarcimento. Senza colpevoli. Infatti lo Stato è stato condannato a risarcire Marina Spaccini, 50 anni, pediatra triestina, volontaria per quattro anni in Africa, per il pestaggio che subì da parte della Polizia. Come decine di migliaia di militanti cattolici della Rete Lilliput, era seduta, con le mani in alto e fu massacrata di botte senza ragione. Per il giudice Angela Latella la selvaggia repressione genovese è coperta da una vergognosa cortina di menzogne e depistaggi da parte della Polizia di Stato, e, ben più grave, la sentenza genovese certifica that the violence was not an isolated initiative, but it happened in a specific context. Another ugly page in a flawed democracy that still tends to smooth the hair talking about "good justice" (Lucia Annunziata). Perhaps in a technical sense it is. But the situation is different. These individual responsibilities, and the story can not make judgments. But justice in Italy is the antechamber of history: the one naturally leaned toward each other in an embrace disturbing, in a grotesque farce, one expanding to excess time, the other shrinking. A Russian roulette between "sunk" and "thank you". And grace. Five euro di rimborso alla pediatra e nessun colpevole a fronte a 225 anni di carcere. A luglio a Rostock ci furono quasi mille feriti e 130 arresti. Entro i primi giorni dall’arresto ci furono i processi: un 31enne fu condannato a dieci mesi di reclusione senza la condizionale per aver lanciato sassi, bottiglie e altri oggetti a ripetizione contro a polizia nei disordini. Pur nella sua brutalità, questa giustizia ha un senso. Magari è ingiusta subito, ma evita di proiettare la sua distorsione. E invece, così, abbiamo il tardivo rimborso e l’altrettanto tardiva pena esemplare, forse ancor più temibile perché parafrasando Leopardi “il male atteso è sempre maggiore del male presente”. Il messaggio è chiaro. Anzi sono two. First, the lean justice can only come as a personal grace, in recognition of a process of purification due to denial of the beggar and not a recognition of the institution "at fault". "You deserve the respect, to talk back." "Play by the rules and we will be inclusive," "you so you were sought but it went well." There instead of the real culprits, in flesh and blood. Those who attack the "stuff". The only thing more true of the body.
The "exemplary punishment" for the arrogance, the thirst for violence, fascism appeared, the arbitrary use of force, the willingness di colpire innocenti; insomma, il risolutivo faccia a faccia con i reparti creati ad hoc come i Canterini Boys o i Ccir , i famigerati contingenti di carabinieri per gli interventi risolutivi, sono ancora là da venire. Già così il processo potrebbe costare allo Stato tra i 7 e gli 8 milioni di euro.

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Letteratura Postcoloniale e della migrazione. Il caso Bahatt.

Ron Kubati è nato a Tirana nel 1971, da anni vive in Italia e ha pubblicato diversi libri. Carla Benedetti recensendo il suo ultimo romanzo scrive «sulla "letteratura migrante", che ormai è una realtà cospicua del nostro paese, sull'arricchimento che porta, sul suo valore non solo documentario but also as literature, it has already been said. And also the risk that the category has become a publishing genre, may enclose the various items inside a stereotype. But this is now the challenge to all those who write. We live in a society in which normalizing each singularity is not well tolerated, criminalized or deemed expendable in the short and market communication. "
All very true, almost. In English-speaking countries are twenty-five years that race and gender equate a lot of it by selling works of non-English writing in English and non-heterosexuals who write their non-heterosexuality. But the real furnace, the industry is that of criticism that goes hand in hand this time with both writers, both with the publishing market. For some 'I find myself reflecting on issues and a wonderful response to some of my ideas I find in Cancellation of Parcivall Everett, a novel that I recommend. The central theme that this novel phenomenon with ironic grace, I tried to express reviewing the color of loneliness, Sujata Bhatt, English-speaking Indian poet (translated Paola Splendore, Rome, Donzelli, 2005). The piece, chiestomi from the 'Index' is not suited to the needs of the magazine and perhaps rightly so it was not published. I propose again now here belief that such speech should be encouraged, not appeased.

Romantic poet in Gujarati language Narmada (1833-1886) was able to quickly take possession of certain fundamental features of the West (founded, among other things, "Dandiyo", a paper on the model of 'Spectator') and wrote a famous song by Mahatma Gandhi remembered in his memoirs, saying, "Look how strong the British dominate the small Indian As eat meat, are five cubits high." Today, fortunately, and now some thirty years, overfed Anglophone culture from its five cubits began to look forward to the culture of the former colonies and in particular the English-language writers, like Sujata Bhatt, a poet almost fifty born in Ahmedabad from a Brahmin family and grew up in New Orleans, the city of Pune, India and Connecticut where the father is called to lead a research program at Yale University.
Formed in the heart of the American theory on a canon exemplary "Western" (Hardy, Yates, Eliot, Stevens, Bishop, Williams, etc..) Sujata Bhatt has translated Gujarati poetry for the Penguin Anthology of Contemporary Indian Women Poets and English ('language of choice of writing poetry "and" only true fatherland ") published his first collection of poems ( Brunizem , Manchester, The Carcanet Press, 1988, awarded the prestigious Commonwealth Poetry Prize ") which was followed Monkey Shadows (1991) The Stinking Rose (1995) Augatora (2000) and The Color of Solitude (all published by Carcanet and all antologizzate widely in the choice made supported by the Italian curator same author). Determinants for its formation are in contact with a prominent poet as Eleanor Wilner (1937) (included in the prestigious Norton Anthology of Poetry ) and attending a Writers' Workshop organized by 'dell'Yowa university where he will also meet her future husband, a journalist and writer of Bremen. "The language as a condition of exile "and" return of the living embodiment of Eros in perspective and women's "experiences usually characterized by private representation (Who speaks of the strong current / flowing in the legs, the breasts / a pregnant woman / the fourth month? ") is undoubtedly one of the dominant figures of the poem, however, that Bhatt has its value as a poem published in the idiom as spoken in the world and set up cultural assumptions far from the fringe, at least in the Anglophone world.
is demonstrated by the fact that the problem of multiculturalism begin to be heard in Italy, and more in a "kind" or better “in uno spazio di mercato”, relativamente angusto come quello della poesia. Ma la poesia multiculturale cantata in The Multicultural poem «La poesia multiculturale è una creatura, un essere il cui spirito respira come un’orchidea al sole ancora umida di pioggia» assomiglia tanto a quella “ruota lucidata da due scrosci di pioggia” da cui "così tanto dipendeva", ed è avvicinabile in primis allo stile di quel poeta radicalmente monoculturale, in perenne lotta con il chiassoso (e paradossalmente reazionario) cosmopolitismo poundiano, che fu William Carlos Williams. L’equivoco dei “margini” porta ad una sovrapposizione dell’immaginario estetico and does not hear from social risks. Already it is difficult to decide whether and how to export a political model, in vitro grow worse idea of \u200b\u200bliterary value "anatomical" and "gender", since the blunder "of five cubits, like the faquir Arab tradition, is always there ready to emerge at every turn the corner.

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Moresco saggista (2) il conflitto di un uomo pacifico.

I said that criticism of Moresco was born as a challenge but I have also spoken of a great kindness that characterizes all of his writings, a poetic and miraculous grace that makes even the brutality of the rapist of pregnant women, the sold to child porn Women's no holes, than wrapped in aluminum foil, and so on in songs. I used the term in the sense that gives the director Davide Maderna when he writes:

I am reminded of that joke Nazarin (1958) by Luis Buñuel: the story of a young priest out of the town, who lives and hosting prostitutes every time it receives the offer alms to others, by behaving as pure, does not own anything, rejects any social role, even the social role of the priest. At one point someone asks, "But she defies society, challenge the abuse, the insults of the people of his parishioners?". And he answers: "No, I do not challenge their nulla. Io accetto le cose come sono”. È un personaggio stralunato e non lo dice con boria. Il valore del termine ‘accettazione’ di cui vorrei parlare è un po’ questo: di qualcosa che si contrappone a quel germe di odio, di competizione insito nella parola ‘sfida’.

Moresco accetta di parlare. Non si butta nella mischia per avere il primo posto sotto i riflettori e poi non dire più niente. Un amico mi faceva notare che nell’ultimo aggiornamento della canonica Storia della Letteratura Italiana di Cecchi Sapegno viene dato a Moresco il “giusto spazio” e mi dice “e allora che vuole ancora”. Moresco stesso lo ripete in un intervento al salone del libro e in several occasions. "No, not enough for me."
The great merit, super affordable, so to speak, citing Céline Mea Culpa , Antonio Moresco, which could lead to a twenty-three player about to graduate in Italian literature was to open our eyes to a cultural conflict in progress, deaf and without angles: razor blades sunk in cotton. To understand The country of shit and etiquette the reference to Pasolini against Calvin is a must. Of the two essays I read a contiguous and then there were the letters anyone ever published by Basic Books, where he worked as an editorial consultant Berardinelli. They were the picture of a bleak landscape and the description of a historical shift in person. The euphoria of the beginnings , the explosion of Chaos songs, their new creative absorb the first blow of those essays, which, however, over the years continued to talk quietly meetings not real actors but the effects of resonance leading to a more or less rotation of critical discourse and a reassessment of certain values: Calvino, Eco, primarily, but also a certain Magris and Del Giudice and again many authors ... Symptomatic reading the various reviews Pent to the first and second part of the chaos songs. In the first the author said, essentially, that he sings and if he plays, the second praised the reliability and consistency of the project or something like that. In any case, I saw the charge of Moresco us something of my generation, I could see so much narrative Einaudi (Galiazzo and Bajan eg.) And we saw also a critique of some of my stories come out about the "Maltese." He hit the mark, and he was right. Of course, before he had realized others had noticed that Fortini eg Calvin, "the optimist in the shadow of power," tended to reduce conflicts and antagonisms are merely historical and social system of conflicts, but I had Moresco made it clear in a concrete way what was the extent of the idea of \u200b\u200bliterature. I had him touch with two works of power and unmatched in the Italian publishing market that had appeared as an answer to the 'impasse reported. Many other peers then they recognized the power of the writing, his news and in the years of PhD, the people I spoke of his work were concerned, attentive, or controversy, still lives. Rare in the corridors of the departments. When I know his work to a friend who taught Italian literature at the University of Barcelona, \u200b\u200balmost immediately decided to translate it into English. Since then, Antonio remembers me as the "unmoved mover" and it often makes me smile. These are personal reasons that prompted me to begin this essay and to write this preamble. From the next episode, the texts in detail.

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Antonio Moresco saggista (parte I)

Moresco I read from time to anyone Letters. It is the living Italian writer I most admire. We talked in four or five occasions and my sympathy is further enhanced by knowing the person. Against this background it is difficult to strike up a conversation but I'd do it. The episodes of this irregular critical soap opera I'll try.

*****

"It 's jumped this, you missed that, we have broken with this, we have broken with that ... the readings are theoretical these years, the simplifications of these years, by a personal intellectual who went to close by itself in this dead end [...] A kind of intellectual class in loss of stature and status that reads all of reality through their small theoretical frameworks and sociological separate, believed to be in one place and it is saved in another infinitely more dramatic and great. All being well warm in her little niche, albeit laughable without even the furies of abstract modernist avant-garde art, taken off guard by the times to come. There is around a reading of annihilating life and "literature" by the figures that have already won to date. Are years, decades, that same look from different points but comes back with the same small objective. Now it is no longer this can not be more than ... No, you can still, you can always. It is you who can not. Do not be afraid of greatness because greatness is always possible. All these theories to small machines celibate, frightened by specialized figures who are afraid to know and feel terrible in the same size and the same risk they see in the past, a past petrified and defused they read through their cultural lenses consolatory . You really have to be very unsure of their size and their dream to have such a fear of greatness! "

To get an idea of \u200b\u200bhow writing works Antonio Moresco can quote this passage as countless others from Mink (1998) to Sbrego (2004). Moresco's writing again, storyteller unfolds in cells uniform, repeatable sequences varied, by parthenogenesis. Moresco is the monolingualism of the new century, digestion time shifted in an immutable style that has its own unique footprint that fits directly in Italian, "literary" and not (who ever from now on will some time with the word "flourished" preceded by a comma?) Moresco lives a voltage a constant challenge. All too easy to attack. His being disarmed fiercely confronts an immediate empathy or an open rejection, a boundless sympathy, or zeal to barricade. And the barricades, inevitably arose. Carla Benedetti, Tiziano Scarpa, Giuseppe Genna, Massimiliano Parente are there to witness it; around Moresco connate in the last twelve years, a spontaneous standing, fundamental, a rope. Can not I take from the package deployed on the "Western Front" or the nation as a whole Indiana: and then what does the good and mostly neglected while Dragon, or the less talented Bajan with this speech? Moresco can love and feel a perfect fool Parente? And how can we see this dynamic in the grounds of desertion from his critical work, the need to distance themselves from something that is compact and makes a group? Is to say "his retinue of acolytes have it and still complain, that the Mafia, and he comes to revere all take a step back ... but from where comes this fucking troublemaker" Moresco walking his way, with fury and grace (grace that shows such as responding to split up Evangelisti Cortellessa surgery) and takes us back to the years under your skin like a splinter sect and then the dispersion of the eighties. Moresco is the author who has passed literary values \u200b\u200band codes of the last century into the new century by outlining a clear path intellectual essay written in character, though talk of essays by Antonio Moresco might not like. The essay is sectoral, professional "defused" unacceptable. Moresco will not accept the rules of the game from their foundation in the most remote. Neither reading is reading in the traditional sense, but vision. We must break down the watertight bulkheads of the profession and the genres. Many say it, apart from him a few are able to do it. For non-fiction but I mean those places where Moresco about books or art, I mean those pages in which he speaks of something written or painted it there and then maybe it smashes into another, as in Sbrego , or as original title, nell’ Adorazione .
Per arrivare a rifondare la condizione epistemologica il saggio (scusate i paroloni) bisogna però non solo rifondare l’atto di lettura, azione aleatoria e non comprovabile, ma aggirare il canone, espanderlo evolvendo, cercando di evolvere la società e la civiltà italiana. Questo è il Moresco saggista che affronta il peso del mondo; quello che riconsegna al campo letterario italiano il mandato imperativo della grandezza, quello che piglia i soldi di Silvio per consegnare lo Zibaldone al bacino linguistico dominante al momento, quello che ci fa scoprire che Dante in Giappone era una donna, quello che combatte per i Rom e intanto ci porta a ripercorre strade impensabili, da Bilenchi to Walser, Louis-Auguste Blanqui in Prince Genji. Moresco hates the term "literature", I think they also hate the term "intellectual" and perhaps "story" and who knows how many more pathetic attempts to limit language something that must not be enclosed in boxes and predigested precostiutuite. Yet if a critic were to write in its language and its tools would make a good service, neither the author nor the reader nor to the literary criticism in which shelf in the end will end the book. For this reason having to write something about Moresco I will not start work with "rub style" but I will try to investigate "the historical position of the intellectual and essayist Moresco in the Field of Italian literature. " Almost all of the words may be used but the crate as castrating purpose. I always found it a bit hard to justify and 'snobbish desire to Montale "not to be stuck in history," especially after you've worked so hard in front and behind, to be the poet-journalist with the Corriere, which is why even though it is fundamental "The exit from the state of minority" referred to Antonio, the service that I would make (even those who did not want the news or could not understand) would explain the new with the old language. Intellectual laziness? Homogenized? Icy companion from future curriculum adoptions and nothing else? Maybe. If anything I learned, I will explain myself to some risk. Why are there still bad digestion, small mediocrity and laziness. Starting with a comparison: for example, between the form of essays Love Away Sebastiano Vassalli and The Sbrego ... (more)

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Belpoliti e il Settanta che manca

At the end of May 2002 at the Feast of the authors presented the Cuneo Seventy essay, Mark Belpoliti, recently described by Emanuele Zinato as "postmodern" and "dematerializing" (p.18), so then again on the agenda in March 2006 all’Università di Salford (Manchester, UK) nel convegno internazionale “ Italian Fiction in the Sixties and Seventies ”, sponsorizzato dalla British Academy. A Manchester ebbi modo di confrontarmi con Ernesto Livorni e di ascoltare una splendida lezione di Enrico Palandri. In ogni modo, stuzzicato da Zinato riprendo il testo e alcune delle considerazioni scritte allora. Il libro è composto da sette saggi e lettore può trovare in essi il proprio percorso di lettura, oppure mano a mano familiarizzando con i protagonisti, leggere questi saggi come ideali "storie della letteratura" parallele, intese come vicende di quello spazio indefinibile e ideale che definiamo piano della letteratura; piano su cui scorre ed evapora un discorso critico da Belpoliti portato avanti con stile chiaro e di piacevole lettura, bilanciato tra Calvino e di Celati (la scelta di rendere discorsivo anche l'apparato di note bibliografiche, ricorda le Finzioni Occidentali , cui è dedicato parzialmente l’ultimo capitolo). Il titolo però è ingannevole perché molto si parla degli anni Sessanta e poco del decennio successivo. Si tratta di una serie di colloqui a volte reali, desunti da carteggi editi e inediti, a volte invece ipotetiche tra Calvino e Manganelli per il fantastico, tra Sciascia e Primo Levi per l'ordine delle somiglianze assimilato all'interesse per la radice antropologica del narrare comune anche a Pasolini e Calvino; abbiamo poi il dialogo a distanza between Pasolini, Calvino, and Parise in the face of problems like '68, poverty, abortion, divorce, homosexuality (a barrier to open dialogue with Sciascia, declaring that "to be still on the side of Gide and not Claudel 'after the death of the first, regret quest'incomprensione). Parise Pasolini lives with a particularly troubled relationship mainly due to (Belpoliti suggests) the diversity of temperament. Calvin in Paris that "the best thing to do is ignore it," Pasolini is then evoked the contrast-enhanced by Pavese Fortini (in Verification of credentials would be remembered even though its dialogue-contrast distance up with Spitzer Cases of the secondary The witness, with Spitzer's answer to the latter). In the sixties, the expectation of the classic is not removed but merely dormant or transited from literature to myth, myth, anthropology, dall'archetipo to tachigrafy , to "document" Foucault. So while Manganelli and Calvin who are questioning the value of the classic (and still is obliged to compare with Eliot) on the other hand there are the papers of the insane, the history of clinical dietetics and the erotic, the comic Folengo Rabelais etc ... And then of Aretusi Camporesi, which parallels the Pinocchio Manganelli ... There is a view of the vast sea of literary theory, passing, amphibians, between publishers and the university, with its load of engaging charm: Calvin between Bactine, Frye, Leiris, Queneau, Perec, hidden between Frye and Deleuze (not the Différence et répétition but of Logique du sens ), the gap between myth and dream the interest of both the Romance . Here is the seventies, nestled between historicism and Marxism and the myth (of Pavese, Leone and Natalia Ginzburg and transiting the Einaudi and then in the Adelphi and Bollati Basic Books), they discover that understanding emotional year, the carnival Bolognese, l ' the corporeal expression, imagination. For Belpoliti the teachers are Calvin and Manganelli (and in a tight angle but not least Comisso and Parise), but also about Camporesi, the gorilla Quadrum Giuliano Scabia of Truck Charles Quartucci with texts by Alberto Gozzi. This is the Bologna pentothal, patience, Traumfabrick arrival of the comic. And here ends the essay by admitting Belpoliti last page notes that "the literary history of these years has yet to be written and should probably include a chapter with Tondelli, Palandri, Piersanti, we speak as a narrator Andrea Pazienza 'not an apology or a denigration "but a" history a way of telling "that draws from Celati, Scabia, Camporesi, Roberto Leydi, Gianni Scalia, and then the relationship between political utopias and feelings, and more." Too bad we're on page 302 and the book is finished. The analysis of a recreation understood as a "return to the shareholder agreements" is still yet to come (even if the liberation of the Convention by the specter of the rhetoric is certainly something to the aesthetics of reception and the fusion of horizons in hand in theoretical hath been thoroughly discussed here in the seventies). What is missing however is the joint between the two planes (theory and history). As in the seventies to the imagination "order," leggera geometrica e di Calvino (the Retta, it cristallo) subentri early music da 'vita matta "lo ancora molto meglio i raccontano testimoni come Palandri Scozzari e lo di Prima pagare poi Ricordare, che saggisti.

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Una fonte per la botte...

Se Jonathan Swift avesse letto di cui opera tedesca nella spoke so Prefazione a GA-Liebault Junker, German Theatre: or Compendium of best drama, both ancient and modern, which have appeared in German Language, Preceded by an Essay on the origin, progress and current status of theatrical poetry Germany, 2 Voll., Paris, 1772 (see also Sketch of the Origins and Progress of Dramatic Poetry in Germany, "The Edinburgh Magazine, IV, August 1786, pp. 92-94), by the said" anthology ", perhaps we could have a source for his famous fable of Botte ( Tale of a Tub, 1704), beautifully translated by Gianni Celati, who, many years ago (probably 1998 or 1999) in 'Hangar of New Palace , I said that to find a suitable and comparable to the Italian Swift could not refer to Italian style of the eighteenth century, that of Beccaria and Verri to be clear, but had to resort Moral to Operettas Count Leopardi. This is because the literary history of a language follow not the historical chronology, but the authors, who took him into her mouth. Gianni Celati then gave me some of his texts that maybe one day publish on these pages clandestine for now I just bring some of his words from a speech on Swift to understand something of his admirable style and as a reminder of how much passion, commitment and lightness we need to make a good essay, stating, inter alia, its Fictions West as an absolute model essay, including notes. It is the only book critical of which in 2001 took a full synopsis written on a thick dense quadernino delle elementari. Dopo aver ricordato la recente riedizione della geniale Modesta Proposta, testo il cui lunghissimo tiolo imparai a memoria in quarta liceo, affascinato e divertito, gli lascio la parola:

Oggi parlerò di Jonathan Swift, e il mio racconto comincia quando facevo l'università e mi è venuta la passione per Swift, ma una passione così forte che volevo tradurlo tutto. Avevo poco più di vent'anni, e mi sono messo a tradurre per conto mio quella che forse è la sua opera più stupefacente, intitolata Tale of a Tub , che fino ad allora non era mai stata tradotta in italiano. In realtà dopo sono andato avanti per oltre vent’anni a rifare quella traduzione, che finalmente arrived in port and was published under the title of the barrel Fable. Fresh out of college I had a scholarship that allowed me to spend two years in London, studying in the library of the British Museum, and there I wanted to study and translate were Gulliver's Travels, the work to which is linked to the worldwide fame of Swift. But this translation has stalled, and was able to see the light only two years ago, mainly because of long ruminations about the author who could not reach a conclusion. In short, such was my passion for Swift, as strong as it has always been my feeling of not being able to grasp it well. More precisely I will say that, even when read and reread for years, his speeches remain elusive and fleeting compared to the views and opinions that we do with ...