Oh mare nero, oh mare nero, oh mare ne
tu eri chiaro e trasparente come me
Quando, nei primi anni settanta, ascoltavo Lucio Battisti cantare il ritornello de La canzone del sole non capivo bene a quale nero alludesse. Iniziava con la declinazione dei colori dell’adoloscenza: le trecce bionde, gli occhi azzurri e poi... il problema era then everything in that, through no fault of red socks but because of pollution of the sea, to become his turn cloudy white oil as a metaphor for simple and immediate loss of innocence.
But do you remember the green water and we
rocks, white and the bottom
what color are your eyes
if you ask me I do not answer
So sang Baptists, with the complicity of a Mughal inspired, and we kids, lazy Sundays in the austerity, the choir did accompany us with a guitar out of tune, without realizing the epiphany of that tragic summer tune:
black sea Oh, oh, black sea, sea \u200b\u200boh it
you were clear and transparent as I
Today, unfortunately, it is clear to all ports to which black excess greed and lack of prudence in our dig like moles underground, without thinking about the ultimate consequences . We have explained in the apocalyptic BP and the recent events in the Gulf of Mexico.
Personally, I began to understand something more of that oil has many meanings in our lives by attending the lectures of Professor Montanari, Professor of Organic Chemistry at the University of Milan. We were in the mid-seventies and the world had already experienced the first energy crisis and because of what everyone had understood how central the oil in our daily lives.
- In a century we're burning all the assets of the organic chemistry of the Earth! - Said the Montanari and was angry as he told of all the molecules of plant and animal history, accumulated over thousands of years and kept out of the earth, which were burned in the air and turned into gas and a vapor.
As he spoke, the Montanari filled the blackboard with formulas in the variety of organic flowers, and I imagined that fire which burnt the carbon chains to produce a dense black smoke.
- As if a nation of illiterate invaders burned the libraries of the world - continued, turning to his students - not being able to recognize the language and therefore to understand the value and richness of the written word from the story, and I only saw the usefulness of fuel to the flame.
Again in the early seventies there were those who just was not illiterate, in fact had already learned all with many years in advance. Pier Paolo Pasolini was and is a critical consciousness that does not look at anyone, power and opposition of power, so that even today, or perhaps especially today, its gigantic figure compared with dwarfism dominant cultural and political history is cluttered with so much that this 'the sad years Municipality of Milan has decided to cancel a play inspired in his text as it was considered non-educational for the young ...
thirty-five years after his death - the anniversary falls on November 2 - I remember writing here freely of his own work written in the early seventies, but published posthumously in 1992 by Einaudi, a tome of 522 pages collected in a white cover where only the characters that appear in the title and author's name: Pier Paolo Pasolini
Oil
This work unfinished Pasolini is a kind of scratchpad of handwritten notes and typescripts, letters, drawings, newspaper articles, excerpts from other books, intended, intention author, to complement and define itself in a monumental work that would occupy the rest of his life, which was stripped prematurely in November 1975. Started in the early seventies, in full oil crisis, oil is a text magma, black, to sedimentary layers, where coexist a plan traditional narrative, journalistic investigations on the power of the oil from Mattei, overshadowed by the name of Bonocore to Cefis in the literary fiction that is called Troya, Sid reports about the collusion of the Seven Sisters of oil with Italian political power, which remains only a chapter entitled "Lightning Eni, perhaps stolen after his death because it contained its investigations Mattei's death, the portrait of the early seventies, with Italy's street battles between fascists and communists, Feltrinelli's death, the mockery of the living culture of the left of the seventies, the reference to classical works such as the Argonauts of Apuleius , the Demons of Dostoesvkij, and more.
Paul Volponi, in 1976, referring to the last conversation he had with Pier Paolo Pasolini, his great friend, says: "Once I said I'm working on a novel. Must be a long novel, at least two thousand pages. S'intitolerà Oil. There are all these problems our twenty years of Italian political life, administration, the crisis of our republic: the oil in the background as star of the international division of labor, capital of the world that then is what determines this crisis, our sufferings, our immaturity, our weaknesses, and set the conditions for the subordination of our middle class, our arrogant neo-capitalism. There will in all, and there will be different players. But the main focus will be an industry leader in crisis. "
The story of Carlo Valletti, manager of ENI and the Catholic left, whose life is determined by a natural and innocent desire for power, begins with one of the 'topoi 'narrative through the twentieth century, from Stevenson and older: twice. In Oil, Pasolini puts his hero in the face of a wrenching conflict between good and evil that leads him to give birth to another self, then to single physically in a Carlo exterior, superficial, and social good and an internal Carlo, the son of the bowel and dark, dominated by his insatiable sexuality.
While Charles first attended the salons of the bourgeoisie to the left of Parioli, becomes a character of power within Eni, climbing up the hierarchy and makes frequent trips to the Middle East, his double in a short period which stays in the family home in Turin, "... sexual intercourse - and for the most repeated - with her mother, her four sisters, his grandmother, with a friend the latter, with the family maid, the daughter of fourteen, she, with two dozen girls the same age and even younger, with a dozen ladies of the entourage of his mother ... "The two
Carli meet every night exchanging information each other's experiences. In fact it was Charles who speaks second, seeing that Charles must first be made partaker of the joys to which he gave up. A second Charles enough two or three stories of a social nature that gives the other not to lose touch with society, but already the first syllables of his interlocutor, he begins to yawn. Then, suddenly disappears the second Charles, died, and Charles met in one body, changes sex several times, alternating-related events, even retracing some of the adventures on his body to the deceased happened to Charles the second. As the two halves of the character seem to have different lives, but in reality they often exchange roles and are the same person as a symbol of contradiction, the same way, in the novel, join a frantic performance structural and allegorical modes of passion play the bottom of a cosmic drama. In the novel there is the whole contemporary world, there is that Pasolini offers a crucial contribution to the understanding of what happened in our country between the Sixties and the Eighties. The Italian crisis and in particular the degradation of youth is presented in allegorical form: Fifteen Rounds five and a new pit of Hell, where they gradually meet the models to which the New Young of the seventies, and all inter-ugly in the same way (with ridiculous hairstyles hairpieces that look like wigs, false beards Carbonari, purse, jeans and highlighting the gender) are addressed through Worship Imitation: conformity, middle-class respectability, cowardice, narcissism, the living standards of bourgeois hedonism The New Family Welfare, Language expressionless.
Here's what bothers the pygmies of City of London: that someone thirty-five anni fa criticasse apertamente quelli che loro considerano i valori da insegnare ai giovani.
Questa testimonianza che Pasolini ci ha lasciato è la storia del nostro sottosuolo (della Terra, dell’uomo, della società) e di come diventa rilevante rispetto alla superficie. Di come questo rapporto sia radicalmente cambiato con la scoperta dei giacimenti di petrolio e il loro conseguente sfruttamento. Una metafora, forse, ma non solo, se pensiamo alle tante guerre avvenute dal dopoguerra a oggi proprio nelle zone nevralgiche dell’oro nero e alle più recenti catastrofi ambientali nel Golfo del Messico con le relative implicazioni economiche e politiche. Da allora ciò che sta sotto (ciò che non si vede) è più importante, richer and more decisive about what's on in individual behavior, social and political.
black sea Oh, oh, black sea, oh sea it
you were clear and transparent as I
Like oil, this is a testimony of Pasolini sedimentation of organic composite materials that are layered in an apparently random disordered and substance to produce a black text, chaotic, smelly. You could, as you do with the black gold, extract it and refine it by breaking it down into its components to use (the novel, the essay, the complaint, the newspaper article), but it would betray the intention of the author who has wanted it that way and who knows how he would further supplemented and amended.
Also, continue to rob the Earth of its inner layers and finished is a blind and irresponsible exploitation in the hands of a few who have assumed the right to do it all, sitting in the sun by sitting on the edge of a platform to sing the explosion usual refrain: Oh
black sea, black sea oh, oh sea it
you were clear and transparent as I
If anyone asks the leaders of BP if you remember the green water, here they sing in chorus :
If you ask me I do not answer!
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