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No Country for Old Loredana Lipperini

Un paio di settimane fa sono stato alla presentazione di questo libro. Serata densa e ricca di spunti, che mi ha convinto a tuffarmici il prima possibile.
Un libro potente e senza peli sulla lingua.
Tratta tematiche forti ben celate da lustrini pubblicitari e deliri di eterna giovinezza/freschezza/bellezza ed un lunghissima serie di aggettivi dal sorriso largo e gelato.
Una semiparesi di negazioni.
Stiamo sistematicamente ignorando una delle componenti essenziali della nostra vita: la morte ed i vari cambiamenti e degenerazioni ad essa collegati.
La paura di cambiare. Di accettarsi, nel proprio scorrere.
Da qui la negazione della vecchiaia. Anzi, la forclusione. Eccetto nei momenti in cui ci si ritrova, volenti o nolenti, a guardarla negli occhi, indifesi e spaventati. Ed ecco la rabbia, il disprezzo, la volontà di annientamento di chi non può essere cambiato come un oggetto, ma che come quelli moderni non ha pezzi di ricambio.

Si legge molto bene, alcuni passaggi anche troppo. In certi momenti ci si ritrova commossi, bewildered, angry to death.
Other steps may be heavy, repetitive. Overloaded.
But that is exactly what you want to achieve.
There is talk of old age. What results, as the lives of those who have reached and how the people live like everyone else, is straightforward.

is not a wise man who wants to give some kind of answer. E 'condensing the facts, considerations and questions. A journey through forums, discussion groups, hate groups, literature, music (the beautiful part of the metal) and other social expressions of various kinds.
An overview of monologues that do not need comforting and suffocating, but with intelligent speed trying to shake it that the eye now too often forget to see what is best to ignore.
For convenience, laziness, and above all fear.
But the denial of fear, consume inconsumabile (for now) is nothing but a vicious circle from tearing. A slow
zombification plastic.
A horror film in which nothing happens to most of society debut of the "monster" of the moment, too tired to object to its surroundings and to remain himself.

[For those interested in the subject: progress in discussions and exchanges here and here ]

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Who's your terrorist?

Roma shocked by the fighting, armored vehicles on fire in the streets of the capital, firecrackers and smoke bombs in the day of the vote in the House. A stream of students and not just poured into the city. The news run fast on the internet, including a pause and the other trying to steal some more news. I shall focus on the direct shipper. Angle stops on a group of police who rescue a woman in her thirties poured into the ground. With a plastic bag, trying to make her breathe. Maybe panic attack? The frame is drawing closer, the girl's blond hair contrasting with the dark uniforms of officers and a plastic bag inflates and deflates slowly. Breathe in, breathe out, slowly. The scene disturbs me. It seeks the face, eyes smarriti di chi ha avuto paura. Questo farà colpo su chi è a casa a guardare. Cosa vuol significare questo in una città praticamente sotto assedio dove i frammenti che arrivano sono più veloci e più incazzati di una semplice zoomata. C'è gente che corre per non esser presa a manganellate e si vede una colonna di fumo alzarsi dietro Piazza del Popolo. Tutto sembra preparato in anticipo, come in un grande gioco di ruolo. C'è gente che sfila, dalla camera arrivano i risultati, qualcosa sembra dirigere il tutto dall'alto. Le telecamere scrutano la città dall'alto; l'immagine è ad effetto, quella ideale. Precisa, puntuale, che faccia sobbalzare, che faccia preoccupare, che faccia ritrattare la vecchietta, come la mamma e la sorella, che in un primo momento urlavano dalla finestra "ehi ragazzi siamo con voi" e che poi dopo le botte chiudono le imposte per lasciare i ragazzi di nuovo soli, perchè "se la sono cercata". Questo è quello che cercheranno di far arrivare ma più dei fatti ora parlano le immagini. Chi vuole vederci chiaro in questa faccenda si è già messo in moto. Tutti gli altri rimarranno semplicemente a guardare.

Le immagini scorrono, le immagini restano .

Da Stalker di Andrej Tarkovskij

Che si avverino i loro desideri e che diventino indifesi come bambini, because the weakness is the power and strength is nothing. When man is born weak and pliable, strong and stiff when he dies. As the tree grows and is soft and flexible when it is hard and dry, it dies. stiffness and strength are companions of death, weakness and flexibility express the freshness of life. What has stiffened will not win.

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travel and do not leave

trips are planned in many ways, the inspiration can come da un immagine, da un libro, da un racconto di un amico che ci è già stato, ma anche da un film che per qualche motivo ci ha colpito. In rete si trovano varie liste di film che si possono vedere e che hanno la capacità di stimolarci proprio in questa avventura. Qui ne propongono 65 ma si capisce benissimo che la lista è piena di lacune, di vuoti da colmare, ma l'invito ad aggiornarla con i propri commenti fa intendere che il percorso è ancora aperto. Anche qui ho trovato altri titoli e visto che l'inverno è lungo ed il freddo non aiuta certo ad uscire di casa, ecco un modo intelligente per riempire le nostre serate, come direbbe Andrea Bocconi " viaggiare e non partire " perchè si può viaggiare in tanti modi rimanendo comodamente seduti, almeno per adesso!

Until the end of the world
di Wim Wenders,

un film del 1991 della durata di 158 minuti
un giro del mondo nei non-luoghi del mondo
attraversando città come
Venezia, Parigi, Berlino, Lisbona, Mosca, Pechino e poi Tokyo e San Francisco
per finire con l'Australia, mentre un satellite artificiale impazzito cerca la via di casa.
Visionario e potente, una profonda riflessione sull'identità e l'omologazione che la globalità ci impone, un viaggio non-viaggio dove i luoghi sono sempre diversi ma infondo sempre così uguali.

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Requiem for I am with you" by Guido Chiesa

I wanted to write this post, hot jet, to entice you to go see this movie as soon as possible, as was told that he would short life in theaters.

And indeed it did.
Bologna has held seven days.
Not a minute more.
do not think he had better luck in the rest of the peninsula.
Twelve copies are twelve copies.

Even (or especially?) For a film co-production of RAI, which is recognized by the Ministry of cultural competence, packed with information and ideas di riflessone fruibili a diversi livelli.
Purtroppo alcuni di essi, per non parlare di certi argomenti, rimangono (o si vuole rimangano) un tabù per le folle. Impossibile anche solo pensare di parlarne, figuriamoci metterli in discussione. Metter si in discussione. Troppo complicato, doloroso, per non dire pericoloso (per chi lo sarebbe è tutta un'altra questione).
Già, perchè questo non è un film sulla Madonna ed il bambin Gesù come è stato detto per invogliare all'assenteismo atei e credenti ultraortodossi.
E' ben altro.
Parla di genitorialità, della condizione femminile, di cultura e scienza (del loro incontro) e dei tanti modi in cui ognuna di esse possa diventare ingrediante revolution.
social, humanitarian, existential.
difficult, or perhaps only complex, analyze or talk about each one separately, with one vision behind the retina, which claims new visions.
I can try, but we (dis) random order.

The whole story revolves around, and thanks to strong female figures and backed by a symphony of generations (from Anna Maria to culminate in Jesus) that would bypass the obtuse attitude to bow to the customs of a society rigidly patriarchal and violent which merges (or prefer to move) the fear with respect.
A society that is reflected (mostly) listed only in the vertical Mordecai, brother Joseph, in which the repetition of violence from one generation to another, the acceptance date by habit, by the 'always has been, to create meaning. Both in a religious ritual like circumcision (which Maria rebels saying to her husband "You want to make him (Jesus) that has been done to you?" ) and in the political system, which counts only the place or "strain" of birth and his influence, his power at the time.
A society dominated by the vertical is made up of people incapable of looking beyond their feet. Beyond its own. A blind
arciplago of monads, the consequences not only affect the social sphere but even the most intimate and private of your own home. Being a parent in this way means losing sight of the needs and potential of his son, forcing him to deal with the opaque mirror those of the adult; uroboric a renewal of the same ground by subtle variations.

Maria is set in a society of this type, in which women are socially despised, considered impure, inferior (as evidenced, for example, from the scenes / quotes Leviticus 15:25 12 and ) good only to give birth to children to raise as imposed and to keep up with housework.
In the film this concatenation "Hang their heads", which seems to agree only on the role in which relegate women is glaring. Maria Jesus parandone the explicit, saying that women can "do much" only within the walls of the house.
phrase apparently yielding, where is the hidden message at all obvious that the revolutionary potential of each parent (and in a broader sense, each parent), to raise their children, the future, in a different way than social impositions and its duplication. She is not alone in assisting the phenomenal rise of Jesus, who can become such thanks to the man who is next. In the movie Joseph

makes an interesting development. From father "castrated," which goes on day after day by accepting with resignation that surrounds him and his children, Father becomes capable of a vertical free fall on who stands beside him, that does not suppress the horizontal mother, but it is integrated. Change the posture and gaze, his way of interacting with others and follow your child discovers the world and analyzes their hypocrisy (copy the scene where the "crazy" in the village is also expelled from the synagogue with false guise of a divine law).

The Holy Family as a possible example of change, disruption of the staus quo of the fire had created so many sparks from home (something which, in other words, we have also treated here) or why not?, school (on this aspect, it may be interesting to hear a little ' this ).

Maybe. Certainly it is a complex speech, to be applied to a society much more complex than that shown by the film. Surely I forget something, but given the intensity of vision, it would be nice not to confine the discussion in these few bytes. Multidirezionarlo.
But you have to wait for the DVD. And who knows if it will be the same.
In the darkness of the room, with the few people around, you feel an air of power, I do not know if watching TV, more intimate, able to recreate. For
now as said by director here:

Unfortunately they have won. The people of "chisssenefrega of Our Lady", together with that of the believers who do not care to think, see each other but only confirmed (although the film does not contradict any of the doctrinal assumptions of Christian faith), deserted halls. He has not rejected after seeing it: it is simply gone to see him.

The logic of the market knows no exceptions, I am with you is intended to be a meteor, with all due respect to those who do not want certain texts are completed, those who complain about the single thought or cultural leveling out. Others, never their own.

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No stars war (a few words about Stephen King, the bad and the distortions of irony already fragile ego)

Whatever you think of Stephen King, one must admit that it is an author who creates havoc.
Without making any effort, however.
simply doing what he does best, write, can create cracks not indifferent about their figure.
Personally, I find myself among those who believes one of the greatest contemporary writers. For the topics it covers, how to treat them and the many links between all (or almost) his works that, over time, can be considered as a single body that is enriched by stimulating more and more of hints, clues and interconnections between the most unlikely (from a recent mini-interview ( here ) synapses of many fans literally sketched in search of new wires).
course, as everything is more or less intelligible, somebody is not agree with me, and whoever is not part of large group of admirers (and luckily, I might add) and an author believes King banal, boring, repetitive, and too verbose or good to read right under the umbrella.
Well, nothing wrong so far, tastes are tastes.
But in reality there is a little problem.
Why King is an author who writes much, much sells itself and has even more, and if there is something that new media have taught us and given the opportunity to do is just talk too much, even of what we do not know well. And not just to share thoughts and precious part of himself but also the greatest ugliness that we carry inside.

Inizialment and this post would be similar to the above and many other facts about a book. Of the last King to be precise: Full dark, no stars (dark night, no stars). An anthology very well done, composed of four stories raw, hard and without frills that, as we have become accustomed, could have very well be four separate novels, sure gain in terms of suggestions or colpi di scena ma perdendo così il magnifico crescendo di una storia letta di seguito all'altra; l'apnea di tensioni e sconquassi interiori che portano senza fiato alla fine del tunnel, la postilla, in cui zio Stevie questa volta picchia duro ed in ogni direzione, senza far sconti a nessuno. Nemmeno ai suoi affezionatissimi Fedeli Lettori, solitamente massaggiati o rincuorati, prima di chiudere l'ultima pagina. Questa volta si toglie ogni sasso dalla scarpa, anche i più grossi.
Scende nel “campo di battaglia” in cui pretenziosi criticiucoli dal naso pieno di letame sentenziano sulle sue opere, sul suo lavoro, in modo puramente gratuito e privo di qualsivoglia contenuto o riflessione. Osteggiatori che sembrano non possedere altro che invidia e pregiudizio e la convinzione che una persona che vende tanto non possa anche scrivere bene, come se ogni artista degno di far parte dell’Olimpo della Letteratura dovesse essere l’archetipo dello scrittore povero, dal linguaggio criptico e altisonante e semi-sconosciuto ai più.
A costoro King risponde in modo schietto e diretto. Perché raccontare storie non è cosa da fare con i piedi; a capo chino e ossequioso; con l’occhio rivolto ai possibili zeri da stampare sul conto. E' un compito da prendere maledettamente sul serio; un squarcio liberatorio di realtà, di ricerca del senso di ciò che ci accade e circonda. Deve mordere alle viscere, scatenare reazioni. Senza seghe mentali gonfie d'ipocrisia autocompiaciuta e, sotto sotto, frustrata.
Le sue parole non sembrano rivolte solo a chi guerreggia sulla bontà o meno della sua scrittura ma anche a chi si lancia in “guerre civili” riguardo al suo operato. Come, per esempio, i kingofili, tra cui quest’estate è nata una discussione in rete, uno scontro duro e velenoso in cui, armati della più tossica ironia (quella cinica, ipocrita e codarda), sono volate frecciate, offese malcelate dietro a smile e faccine di vario genere e logorroiche dissertazioni incorniciate in un polveroso dizionarismo.
Come dicevo, a fine antologia l’autore parla anche a noi Fedeli Lettori con durezza, pungolando possibili autocompiacenze (tristi veli verso personalissime fragilità o misery) with a doubt about the fundamental goodness or less hidden within each of us.

... I'll be happy to bring you out in the sun. I am also happy to go there, because I think most people are basically good. I know of it.
is that you are not entirely sure.

Sbruffonaggine? Arrogance?
I do not think. With this sentence sharp
King seems to say that in other ways Wallace tried to do. He invites us to ask ourselves, what surrounds us, contained the extraordinary in the ordinary.
As mentioned in the cover flap

jet black four novellas collected in this book about women killed, tortured or otherwise "put back in place." E 'in the course, in our West, a war against "the other half of the sky." The fighting men frustrated, frightened, made mad by the loss of their power.

But it's not all. It is not just a matter of men and women.
There is also talk of small weaknesses that may lead to less dramatic horrors, the rickety scaffolding hoisted to hide the low men in yellow dress that lurk in every person and around us day after day.
And once out of the darkness, Uncle Stevie reminds us to also look at "the other half of heaven" in all of us.

What else? The anthology is excellent, no need to monologues of appreciation.
should be read.
The author achieves its intended purpose well.
shake from the inside and then make us think.
showing once again that the old Buick still churn out great creatures.

[More info about the book, as well as splendid examples of thwarted ego become fragile, can be found here , here and also here ]