Sulla ripresa di una bella collana Mondadori ne Il Saggiatore.  Quando gli editori telefonavano a Faulkner… E che i bei tempi ritornino!


Published in: on June 27, 2012 at 2:51 pm  Leave a Comment  
Tags: , , , ,

Dito and Mike Oldenburg joint exhibition

Segunda-feira, 16 de Fevereiro de 2009

arte em Maputo

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.

Na foto, Dito.
Published in: on February 26, 2009 at 7:25 pm  Leave a Comment  
Tags: , , , , ,

dal cafone lucano all’avv. di South Chicago


Here’s a letter to Michella Obama. monte-chiaro_bio_090211 >>> MORE ON THE LETTER ISSUE:


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.

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

10 anni fa il Faber ci lasciava

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.


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:


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.

Nemo propheta in patria

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. 

Arturo Vivante

Italian-born writer with autobiographical bent 

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

Published in: on June 1, 2008 at 1:26 pm  Leave a Comment  
Tags: , ,

celine a milano, 3 luglio

 Crafted with love by  Céline fan LaDivaPourToujours
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?! 😉 


Published in: on March 28, 2008 at 8:32 am  Leave a Comment  
Tags: , , ,

Grapes of Wrath

GRAPES OF WRATH no.1: rent the video (you better buy it, and read again Steinbeck’s book) and take a look at http://www.filmsite.org/grap.html
No.2 has many locations across and beyond America, e.g.:
a) subprime ones in …
b) tomatos picking by migrant people nearby Naples and in South Florida
c) rural migrants building up Shangai, Shenzen
From the new, static “ACCESS PAGE TO ALL THE SUBPRIME SCIENCE” (this is marketing), you enter a 20 pages pdf, a guide to essential knowledge, and carefully selected readings on the financial meltdown that threw US people (mainly black, but also latinos) out of home, and is about to produce  millions of unemployed and new slaves across labour markets.
Grapes of wrath no.2.

“Pippo” Giuseppe Di Stefano has left this world

There is no way to resume the place Pippo

( 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.


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

LA BARCACCIA del 5.03.2008

Speciale: commemorazione di

Giuseppe Di Stefano (seconda parte)

LA BARCACCIA del 4.03.2008

Speciale: commemorazione di

Giuseppe Di Stefano (prima parte)

 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. 

Published in: on March 15, 2008 at 6:08 am  Comments (2)  
Tags: , , , ,

Magnum’s Black power in black-and-white

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 …

Published in: on February 27, 2008 at 3:50 pm  Comments Off on Magnum’s Black power in black-and-white  
Tags: , , , ,

Passage, orages, fromage, outrages, dommages

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”.

Published in: on February 24, 2008 at 10:38 am  Leave a Comment  
Tags: , , , , ,