Sulla ripresa di una bella collana Mondadori ne Il Saggiatore. Quando gli editori telefonavano a Faulkner… E che i bei tempi ritornino!
Na próxima quarta-feira, dia 18 de Fevereiro, inaugura no Instituto Camões (Maputo, Moçambique) a exposição “Um Momento no Tempo“, uma colectiva de Dito e Mike Oldenburg, artistas que já se tinham apresentado conjuntamente no ano passado no Centro Cultural Joaquim Chissano.
I DECIDED TO CELEBRATE CHARLES DARWIN DAY – WHICH OF COURSE IS TODAY – NOT RITUALLY AT ALL: MILITANTLY. CHARLES HAS BEEN THE GREATEST SCIENTIST OF ALL TIMES; THIS IS A FACT, AND THAT’S ALL, FOLKS.
Here’s a letter to Michella Obama. monte-chiaro_bio_090211 >>> MORE ON THE LETTER ISSUE:
A SUGGESTED INTERPRETATION OF THE CHIAROMONTE-LIBERALS-OBAMA GENEALOGY.
to MICHELLE OBAMA <info@barackobama.com>
date 12 February 2009 04:57
subject Re: Your call to service (2009/1/12)
Dear Michelle,
I might have found something important, a hidden Italian contribution (in the 1940s, when so many Europeans had to escape to NY) to the birth, growth and emergence of a liberal culture, that is now fully deploying, for the first time ever, in your beloved husband as a President; that we feel as Our President in Italy as well, as everywhere in this cosmopolitan world (and this is another first time in History, I must say). I am about to post this idea, and this is an excerpt from the English Abstract of my post. It will appear on all 3 my blogs which are named below, with my signature. When my hypothesis will be a bit more robust, I might send an op-ed to the NYT on the subject, eventually.
ENGLISH ABSTRACT
the Secret Magister of the Novecento
the hidden roots in Lucania (Italy) of Obama’s way of thinking
NICOLA “NICK” CHIAROMONTE (1903 – 1972). Born in Rapolla, Lucania, Italia. He died in Rome.
A unique figure of a coherent, self made and – hiddenly, behind the scenes – highly influential anti-totalitarian intellectual, with many curiosities in philosophy, a pioneering critique of Historicism and a great passion for theatre (where he believed Brecht was by far overvalued).
A pioneer of lib-socialism (although he early split in 1935, in Paris from the Rosselli brothers GL, Justice and Liberty group, for not paying lipservice to Italian nationalism and Risorgimento), in the company of Arendt, Camus, Orwell and Weil. He fought in Spain with André Malraux’s aviation team: a real legend.
When in New York (Summer 1941-47), he played a widely recognised Magister role in the liberal, anti-stalinist intelligentsia of the Partisan Review and Macdonald’s Politics, although he had to fight hard against a well alive marxism, yet. He was the best friend of Mary McCarthy (…).A Maestro of the Novecento, he found his own Maestri in Andrea Caffi, Gaetano Salvemini and someone younger than him: Simone Weil. While he despised Gramsci as a cattivo maestro of generations.
We argue here that the hybridation of seminal European and American New Lefts, that happened in New York under his Invisible Direction in the 1940s, was a decisive, necessary and irreversible step toward the (path dependent) emergence of contemporary Liberalism in the East Coast, that has now expressed its most mature figure in President Obama.
The man with the energy and innovation, as not only to stop the Reagan-Clinton decadence, but to establish a Liberal cultural and political “hegemony” (NOT in the awful, collectivist and retro Gramsci sense!), without antecedents in US history. It is impossible to understand where all this comes from, unless you dig deep, and also in the legacy of a man who literally came from the Nothing: il “cafone lucano”. Point is: of the two Nothings (Emanuele Severino), he was just coming from the Future (on a Time Machine). Thanks, Nick!
It is time to make Justice triumph. Time is ripe for the world, from Mumbai to LA to know whom we have also to reward for the ongoing change.The truth about such a despised and forgotten man, whose imagination, fed by Simone’s fertile one, created an Impossible Thought Experiment – a libertarian socialism freed by Marxism – that we can now translate into a Real Experiment.
I follow every day the political battle in the US, and I am deeply engaged in doing the same in Italy. We can’t believe yet all this is true, and all our destinies changed 180° in less than one year!
Thank you from the deep of my heart.
enzo fabio
Non commettere atti che non siano puri,
cioe’ non disperdere il seme,
feconda una donna ogni volta che l’ami,
cosi’ sarai uomo di fede,
poi la voglia svanisce e il figlio rimane
e tanti ne uccide la fame,
Io forse, ho confuso il piacere e l’amore,
ma non ho creato dolore.
PER FABRIZIO DE ANDRE’. UN ANARCHICO
Era 10 anni fa e Faber, il Fabbro della giovinezza nostra, di noi 60enni e poi di tutte le generazioni seguenti, se lo portò via il cancro. Ecco il servizio del TG5 di allora:
http://www.youtube.com/watch?v=ymrNkwaKtfg&NR=1
Il Faber aveva 10 anni più di noi. Avevo 16 anni, ed al Liceo Scientifico Messedaglia Alessio Altichieri ci insegnava alla chitarra “Re Carlo tornava dalla guerra” (composta dal Faber con Paolo Villaggio). Poi il Faber ci ha accompagnato nel ’68, e per tutte le età della vita. E’ la colonna sonora della nostra vita: l’unica, perche’ Luigi si era sparato contro l’industria culturale, quella discografica e la stupidità assoluta, piatta e floreale di S.Remo.
I 2 genovesi, Luigi Tenco ed il Faber, sono le 2 colonne d’Ercole della musica italiana contemporanea, quella che resterà tra 1000 anni. Con Luigi Nono, forse (ricordato nella autobiografia di Cesco Chinello 2008, Un barbaro veneziano. Padova: il poligrafo); ma quella e’ un’altra musica.
Fabio Fazio ha invitato ieri sera Dori Ghezzi come co-conduttrice, e fatto uno Speciale per Fabrizio davvero prezioso: lo cercheremo sul podcast di rai3 per vederlo (chi l’ha perso) o rivederlo. Alla fine tutte le sirene del Porto Vecchio di Genova hanno salutato il Faber, ed era davvero difficile non piangere … Anche Fazio aveva gli occhi umidi per tutta la serata. Stupenda.
Un grande scrittore ebreo italiano. Pochissimi lo conoscono in Italia, ANCHE perché non leggono il New Yorker – e non sanno cosa si perdono. I racconti di Arturo Vivante.
Riproduciamo integralmente l’Obituary del Guardian di 1 mese fa.
Christopher Hawtree
Thursday May 1, 2008
The Guardian
‘She came to an end six days later – not slowly, like a train arriving at a station, but swiftly and convulsively, like a train derailing.” So the Italian-born writer Arturo Vivante depicted, with a doctor’s eye, the death of a character inspired by his mother. He himself, however, died slowly, at 84, a year after publishing a final novel that incorporated some of the 70 finely observed, autobiographical stories which, translated, were published by the New Yorker over the past 50 years.
Born in Rome, he was raised near Siena, where his Jewish father, Leone, grew peaches. His mother, Elena, of American-Methodist ancestry, was a painter. To watch her at work gave him an early appreciation of looking, of detail. The children had a series of English tutors, and as Vivante recalled, “for children under 10, we were sharply aware of politics”. Several times he described pupils suddenly being sent on a much-rehearsed fascist parade.
At the outbreak of war, the family fled to England and a hotel in Russell Square, central London: “Murky and dimly lit, it provided little contrast to the blackout.” Although anti-fascist, they were still interned, and Vivante was sent to Canada. After the war he studied at McGill University, Montreal, and in 1949 graduated in medicine in Rome. His practice inspired stories that later formed his novel A Goodly Babe (1966). This includes a visit from an American woman who marries the narrator. This happened to Vivante himself. He and Nancy Bradish moved to the Boston area in 1958 (he had several one-year posts at universities, and a decade at Bennington College, Vermont).
That year he also began to write stories, in English, published regularly by the New Yorker. These were collected as French Girls of Killini (1967), Run to the Waterfall (1979) and Solitude and Other Stories (2004). Invariably autobiographical, they often revisit 1930s Italy, sometimes featuring journeys by bicycle or car. The stories exist as much for their detail as any narrative thrust. “Peace and quiet … the feeling eluded him. It seemed to come to him only in his sleep. But was sleep peace and quiet? Not exactly. You need to be awake to savour peace and quiet. They weren’t just a void, a passive, inert state. They were a rich experience.”
Vivante had written poetry (and later translated Giacomo Leopardi), and his stories showed evidence of this. Their philosophy, a continual quest for peace, is redolent of his father. Classical allusions sit readily beside such observations as a Fiat which, “because of its smallness and age, was out of the contest, out of the tedious frenzy that cars, especially in Italy, have with one another. It was only a match for bicycles … sometimes, on country roads, big sheepdogs would chase it and keep barking alongside for hundreds of yards.”
His stories’ frequent epiphany, life in miniature, made his substantial novel Truelove Knot (2007) a surprise. While incorporating much material from the stories, it adds a melodramatic plot in which the 17-year-old protagonist escapes a Canadian internment camp. He is hidden, and seduced, by a waitress. He returns to her after merchant navy trips, on one of which he meets his parents in wartime England before sinking with the stricken vessel. If “he felt her heart pounding against his like bells ringing in glory” edges towards the overwrought, classic Vivante is “nothing travels faster than thought”.
His wife died in 2002. He is survived by three daughters and a son.
· Arturo Vivante, writer, born October 17 1923; died April 1 2008
|
Beh, l’intento è promuovere quanto più il concerto per far sì che si arrivi al sospirato SOLD OUT!!! E’ ciò che più preme a tutti i fans di Céline, no?! 😉
|
( 24 July 1921, 3 March 2008) has taken forever, in the history of Opera. Let us just recall that his and De Sabata’s 1953 Tosca is often considered the all times No.1 recording. As the suggested podcasts remind us, he has been among the few, with PierPaolo Pasolini, close to Maria to the last. This means that, besides being a sublime tenor voice, he was “un gentiluomo” in life, as Montserrat Caballè testifies here. Suozzo and Stinchelli (La Barcaccia, http://www.radio.rai.it/radio3) have made their usual best in order to commemorate Pippo. Four podcasts resume and diffuse their craft work. While listening live to No. 4 (Maria and Pippo’s duets, including the one in Act 3, Tosca directed by M. De Sabata), emotion made so many people cry all over Italy. In fact living in Italy has some advantages:
you can listen to La Barcaccia live every day. No.3 has a unique interview with Montserrat Caballé.
LA BARCACCIA
del 12.03.2008. Speciale:
commemorazione di
Giuseppe Di Stefano (quarta parte)
– Callas e Di Stefano
LA BARCACCIA del 11.03.2008
Speciale: commemorazione di Giuseppe Di Stefano
(terza parte) – Montserrat Caballe`sul grande tenore
From Alan Byth’s obituary, The Guardian:… in September 1951 he appeared for the first time opposite Callas, in La Traviata at Sao Paolo, with Tito Gobbi, no less, as Father Germont. He and Callas were soon singing regularly opposite each other, first at Mexico City, then at La Scala, and of course in a long list of recordings, the most famous of which, perhaps, is the 1953 Tosca conducted by Victor de Sabata, still a model for all later recordings. They were often partners on stage, for instance, famously in Donizetti’s Lucia di Lammermoor in 1955 under Herbert von Karajan, a performance recorded live at Berlin, which shows both singers at the absolute peak of achievement, including a repeat of the famous sextet. Another notable combination featured the two under Carlo Maria Guilini in a staging of La Traviata by Luchino Visconti at La Scala, also in 1955, now available on CD.
Today’s Pictures: Black Panthers Our past coming on surface. Slate.com today’s pictures: 17 Magnum shots on Black Panthers. The greatest myth of our youth, when we (I mean the 60s-old) had the same age as the Panthers. Also in Italy, in the 68 movement we were in love with Angela Davies, now prominent in gender-and-race studies. Someone even fell in love for a young lady whose hair resembled Angela’s …
Concurrence dure et pure pour la belle chanteuse Carla Bruni. You Tube diffuse “Si tu reviens, j’annule tout”, cette instant-song douce et romantique crée et chantée par Jeanne Cherhal dans un impetus creatif (suis reveillée un matin avec cette phrase en tête). La musique est sympa, en tout cas meilleure du banal contenu video associé et son sujet maniacale au carré: lui il est maniacale dejà, en plus on nous le fait voir et voir et revoir …: ça suffit, eh ?!? Vous avez de la chance en France: tu change le canal et: puf! Sarko 1, 2, 3 … Le texte est celui typique d’une chanson pop; il est à noter que le ritornello change à chaque fois sa première ligne (la seconde a un auteur suspecté meme par la justice: Sarko). Le voilà: “Si tu reviens j’annule tout, nos écarts de langage, nos colères nos passions de passage Si tu reviens j’annule tout, tu sais bien, tu reviens j’annule tout (..) Si tu reviens j’annule tout, nos éclaires, nos orages, tes piments mes plateaux de fromage Si tu reviens j’annule tout, tu sais bien, tu reviens, j’annule tout (..) Si tu reviens j’annule tout, mes cafards, mes outrages, autant que possible mes dommages Si tu reviens j’annule tout, tu sais bien, tu reviens j’annule tout Tu sais bien, tu reviens j’annule tout”.
| S | M | T | W | T | F | S |
|---|---|---|---|---|---|---|
| 1 | 2 | 3 | 4 | |||
| 5 | 6 | 7 | 8 | 9 | 10 | 11 |
| 12 | 13 | 14 | 15 | 16 | 17 | 18 |
| 19 | 20 | 21 | 22 | 23 | 24 | 25 |
| 26 | 27 | 28 | 29 | 30 | 31 | |
|
de(e)pre(ce)ssion 