The other day, Carmilla Online published a summary on the case Baptists. The reference is of course the article in question (written by Valerio Evangelisti himself), and more generally a whole section of that site devoted to Cesare Battisti, its ubiquity and persecution and revenge ultimately operate this country against him. What I would like to put a little 'attention is a particular aspect of this revenge of persecution, an aspect which is also still spoken in the "synthesis" of Carmilla. One aspect that, if you will, is perhaps less striking than others, and for this reason, in my view, deeper and more serious. You could call it: the damnatio scriptoris .
Evans asked if "being a writer is an aggravating factor" in the whole affair, and so concludes, with fullest right. In any case Baptists, the fact that write and edit stories has always been used to complete its destruction, so obvious and blatant, and, in this, and several so-called leftist intellectuals stood out for their virulence. I remember for example that the response Corrado Augias gave a reader's question on the book that holds or held up Republic, an opinion writer on the Baptists. Augias with scorn, branded as the work of Baptists novels, a definition that I happened to reread often, along with Gialletti Mario Pirani (he even a co-founder of the Republic) also mentioned by the Evangelists. Of course, as Mario Pirani, it is probable that Augias has never even read a line of a romance or GIALLETTI , Cesare Battisti, but this is a very minor aspect of the thing. What was written by Cesare Battisti does not ask to be read, then using all lawful means and free of criticism asks only to be struck down, denigrated, de-legitimized a priori . His being a writer only serves to feed the lie that slavery in Italy now has the force of law, and mind you that this happens mainly because Battisti writes stories .
Even with the obvious protests, Cesare Battisti is certainly not the first and only former participant in the armed struggle who writes and publishes books, except that, in general, these are works of fiction, a retrospective historical facts, analysis, in which all or most have ventured, Alberto Franceschini, Sergio Segio by Valerio Morucci (current partner of Casapound) Prospero Gallinari. The porter Cesare Battisti, however, has not traced anything, he started writing stories, publishing them in paperback. He did not remember that the protagonist , but simply a writer. In addition, the essays produced by other former participants in the armed struggle comes almost entirely from jail cells, to probation, for years already discounted, often by dissociation and repent, and from people, therefore, that have already been in one way or another, neutralized. Cesare Battisti, however, was chosen to embody the monster that, kindly hosted abroad without paying the penalty , even dared to write stories and have them published.
unacceptable. The damnatio scriptoris as a secondary element of the damnation of a human being as a whole, its unconditional surrender. Revenge and jail. The unanimity of the tear universal danger, as he calls Evangelists. And, in this damnatio emerge all the elements that define and identify the perfect servants of this country, that Evangelists who always called, in his article, the jumble of fascists, center, post-communists, liberals fuck, fart on television.
All this in a country where people do not hesitate to give the license of "writer" to someone like Giorgio Van Straten, just to make a name. Umberto Eco, then, defines the Evangelists a caricature of what was once , but must refer to a long time ago. Umberto Eco is one who, after Name of the Rose, has produced a prodigious number of powerful crap, including clocks and pendulums, islands of the Day Before, Baudolino and Queen Loana, and the beauty that is present here, Mr. Emeritus no one took care read all these things before you define crap. Just as you care to read all that he was able to find Cesare Battisti, Italian or French. But including caval , which of course no one will ever see in Italy. Imagine. A book divided into two parts. The first told in first person, the reconstruction of his arrest in Paris in 2004 with a false pretext and coarse, her detention, freedom, solidarity campaigns, and the second, however, no names. Vague, distant, painful, hunted. A narrative in which the first is the perception that you need not to be discovered, not to give evidence in who you are looking all over the world. The story of a fugitive che vuole raccontare la sua fuga, ma con la tensione di chi non può permettersi di fornire tracce. La prima volta ho letto Ma cavale sugli scalini della stazione di Como, perdendo un treno per non lasciarla a metà; era in libera vendita in una libreria cattolica di Friburgo, in Svizzera.
Non intendo qui né fare un'analisi, sia pur superficiale, delle opere di Cesare Battisti. A chi si interessava del genere noir , il suo nome era noto già da molto prima che nei suoi confronti si scatenasse la caccia al mostro operata con uno spiegamento di forze mai visto prima. Avenida Revolucion è stato pubblicato nel 2003 in Italia, a cura di una piccola casa publisher, the New Worlds Media Ozzano Emilia; The last shot is in the catalog at Derive / Landing since 1998. In 1999 red footprint is even published by Einaudi, Einaudi that the same public with rave reviews and prefaces to the works of Fred Vargas, a writer in the campaign in favor of Cesare Battisti had and has a significant role. The damnatio scriptoris has, as you can see, the sides very unique. Type the incomparable Roberto Saviano, who has just signed a twenty-four little-known appeal filed by Carmilla / evangelist for the release of Baptists, except to withdraw their signatures about a month ago, now writer persecuted and untouchable icon of justicialism of our house.
The stories, written by Cesare Battisti should be judged only for what they are. If someone wants to read them, should do it by exercising the normal spirit of a literary critic. Then, after due consideration, you can also define novels or Gialletti , or beautiful things, or even of masterpieces. I'm saying now, and I realize, of banal things. I have set before those books as before any written history, trying to distinguish what is the author and his life in those pages, but without making a discriminatory element. Many years ago when it was vox populi that Jorge Luis Borges was a "fascist" and that he had never taken a stand against the dictatorships of Argentina, I refused to read his works and sliced \u200b\u200breviews, then I read them, realizing the how stupid and wrong it was that way I do. Carried away by a mass of opinions more or less consistent. So I never read the Journey to the End of the Night by Céline, and I would not have devoured the tales of Lovecraft's racist. So I read what he writes Cesare Battisti, detaching even by my own views on the event and by recognizing the dignity of a writer, a maker of stories, the narrator of life, drives, walls, of broken dreams. The intellectual
in this country, with very few exceptions, the servants. Also have that particular form of servilisimo that emanates from the fear of being put on the sidelines and end up in turn the object of ridicule, media campaigns, censorship. Destroy the writer Cesare Battisti seems to have become a sort of safe conduct, because the risk at this point would end up in a blacklist, a Index fautorum Caesaris Battisti that you have had the warning signs in the Veneto League. The independence of opinion becomes a sign of complicity, when all are competing to tag along to the chorus uncritical and dictated only by the desire not to be considered at their Once the "dirty terrorist." These here, then, are those who would like to represent our "conscience" of the sbranatori damnatio scriptoris . But, after all, represent it very well: the conscience of a country decomposed decomposing.
Gianluca is a boy of twenty, I know not much. We attend a "thing", and I could not define it otherwise, in a proletarian district of Florence. This is a guy who likes to listen to much what other people say, and this reveals the consciousness of those who will not give complements to the sirens and battages regime, nothing to do with the echoes of Umberto and the joints barbaric. A couple of weeks ago, during a meeting in that place, as all calls to find out more about Cesare Battisti, says: "I am speaking as a monster, a murderess, a despicable, and I was almost convinced, but I do not know anything." I take a piece of paper and write the address of Carmilla Online, then you put me there to talk a bit '. Too little. Too wide thing. These are the winds, the time of the news that regurgitate beings disgusting pasta sauce on the brain and on the walls that we have become.
Evans asked if "being a writer is an aggravating factor" in the whole affair, and so concludes, with fullest right. In any case Baptists, the fact that write and edit stories has always been used to complete its destruction, so obvious and blatant, and, in this, and several so-called leftist intellectuals stood out for their virulence. I remember for example that the response Corrado Augias gave a reader's question on the book that holds or held up Republic, an opinion writer on the Baptists. Augias with scorn, branded as the work of Baptists novels, a definition that I happened to reread often, along with Gialletti Mario Pirani (he even a co-founder of the Republic) also mentioned by the Evangelists. Of course, as Mario Pirani, it is probable that Augias has never even read a line of a romance or GIALLETTI , Cesare Battisti, but this is a very minor aspect of the thing. What was written by Cesare Battisti does not ask to be read, then using all lawful means and free of criticism asks only to be struck down, denigrated, de-legitimized a priori . His being a writer only serves to feed the lie that slavery in Italy now has the force of law, and mind you that this happens mainly because Battisti writes stories .
Even with the obvious protests, Cesare Battisti is certainly not the first and only former participant in the armed struggle who writes and publishes books, except that, in general, these are works of fiction, a retrospective historical facts, analysis, in which all or most have ventured, Alberto Franceschini, Sergio Segio by Valerio Morucci (current partner of Casapound) Prospero Gallinari. The porter Cesare Battisti, however, has not traced anything, he started writing stories, publishing them in paperback. He did not remember that the protagonist , but simply a writer. In addition, the essays produced by other former participants in the armed struggle comes almost entirely from jail cells, to probation, for years already discounted, often by dissociation and repent, and from people, therefore, that have already been in one way or another, neutralized. Cesare Battisti, however, was chosen to embody the monster that, kindly hosted abroad without paying the penalty , even dared to write stories and have them published.
unacceptable. The damnatio scriptoris as a secondary element of the damnation of a human being as a whole, its unconditional surrender. Revenge and jail. The unanimity of the tear universal danger, as he calls Evangelists. And, in this damnatio emerge all the elements that define and identify the perfect servants of this country, that Evangelists who always called, in his article, the jumble of fascists, center, post-communists, liberals fuck, fart on television.
All this in a country where people do not hesitate to give the license of "writer" to someone like Giorgio Van Straten, just to make a name. Umberto Eco, then, defines the Evangelists a caricature of what was once , but must refer to a long time ago. Umberto Eco is one who, after Name of the Rose, has produced a prodigious number of powerful crap, including clocks and pendulums, islands of the Day Before, Baudolino and Queen Loana, and the beauty that is present here, Mr. Emeritus no one took care read all these things before you define crap. Just as you care to read all that he was able to find Cesare Battisti, Italian or French. But including caval , which of course no one will ever see in Italy. Imagine. A book divided into two parts. The first told in first person, the reconstruction of his arrest in Paris in 2004 with a false pretext and coarse, her detention, freedom, solidarity campaigns, and the second, however, no names. Vague, distant, painful, hunted. A narrative in which the first is the perception that you need not to be discovered, not to give evidence in who you are looking all over the world. The story of a fugitive che vuole raccontare la sua fuga, ma con la tensione di chi non può permettersi di fornire tracce. La prima volta ho letto Ma cavale sugli scalini della stazione di Como, perdendo un treno per non lasciarla a metà; era in libera vendita in una libreria cattolica di Friburgo, in Svizzera.
Non intendo qui né fare un'analisi, sia pur superficiale, delle opere di Cesare Battisti. A chi si interessava del genere noir , il suo nome era noto già da molto prima che nei suoi confronti si scatenasse la caccia al mostro operata con uno spiegamento di forze mai visto prima. Avenida Revolucion è stato pubblicato nel 2003 in Italia, a cura di una piccola casa publisher, the New Worlds Media Ozzano Emilia; The last shot is in the catalog at Derive / Landing since 1998. In 1999 red footprint is even published by Einaudi, Einaudi that the same public with rave reviews and prefaces to the works of Fred Vargas, a writer in the campaign in favor of Cesare Battisti had and has a significant role. The damnatio scriptoris has, as you can see, the sides very unique. Type the incomparable Roberto Saviano, who has just signed a twenty-four little-known appeal filed by Carmilla / evangelist for the release of Baptists, except to withdraw their signatures about a month ago, now writer persecuted and untouchable icon of justicialism of our house.
The stories, written by Cesare Battisti should be judged only for what they are. If someone wants to read them, should do it by exercising the normal spirit of a literary critic. Then, after due consideration, you can also define novels or Gialletti , or beautiful things, or even of masterpieces. I'm saying now, and I realize, of banal things. I have set before those books as before any written history, trying to distinguish what is the author and his life in those pages, but without making a discriminatory element. Many years ago when it was vox populi that Jorge Luis Borges was a "fascist" and that he had never taken a stand against the dictatorships of Argentina, I refused to read his works and sliced \u200b\u200breviews, then I read them, realizing the how stupid and wrong it was that way I do. Carried away by a mass of opinions more or less consistent. So I never read the Journey to the End of the Night by Céline, and I would not have devoured the tales of Lovecraft's racist. So I read what he writes Cesare Battisti, detaching even by my own views on the event and by recognizing the dignity of a writer, a maker of stories, the narrator of life, drives, walls, of broken dreams. The intellectual
in this country, with very few exceptions, the servants. Also have that particular form of servilisimo that emanates from the fear of being put on the sidelines and end up in turn the object of ridicule, media campaigns, censorship. Destroy the writer Cesare Battisti seems to have become a sort of safe conduct, because the risk at this point would end up in a blacklist, a Index fautorum Caesaris Battisti that you have had the warning signs in the Veneto League. The independence of opinion becomes a sign of complicity, when all are competing to tag along to the chorus uncritical and dictated only by the desire not to be considered at their Once the "dirty terrorist." These here, then, are those who would like to represent our "conscience" of the sbranatori damnatio scriptoris . But, after all, represent it very well: the conscience of a country decomposed decomposing.
Gianluca is a boy of twenty, I know not much. We attend a "thing", and I could not define it otherwise, in a proletarian district of Florence. This is a guy who likes to listen to much what other people say, and this reveals the consciousness of those who will not give complements to the sirens and battages regime, nothing to do with the echoes of Umberto and the joints barbaric. A couple of weeks ago, during a meeting in that place, as all calls to find out more about Cesare Battisti, says: "I am speaking as a monster, a murderess, a despicable, and I was almost convinced, but I do not know anything." I take a piece of paper and write the address of Carmilla Online, then you put me there to talk a bit '. Too little. Too wide thing. These are the winds, the time of the news that regurgitate beings disgusting pasta sauce on the brain and on the walls that we have become.
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