Lampi on Oil 
Perhaps the words of Dell'Utri, the Rome prosecutors have asked to listen to part of the investigation into the death of Pasolini, will provide new guidance on the famous chapter disappeared Oil . That's no accident was titled Vas, because the work seems to suggest the coincidence of power with a hollow center. For the rest, the only certainty is that the distance between "hearsay", "meaningful coincidences" is foolish and too short In light of the request made yesterday by the prosecutor in Rome to hear Marcello Dell'Utri in the investigation into the violent death of Pier Paolo Pasolini, reopened about a year ago, maybe even resume the iconography yellowish color that surrounds the mystery and it is appropriate at this point, try to refocus, adding some detail usually left unsaid. The yellowing of the iconography that comes from speculation fades in assumptions or poetic way of policies, both never fully supported or poorly supported, not only "the facts", but the simplest and most basic criticism is reasonable. On the one hand, the key to his poetic and certainly impolitic way: that of the Pasolini film director and teacher of that assembly - commentator in corpore vile ambitions of the College de Sociologie of Caillois and Bataille, Mircea Eliade accomplice readings and a puppet of hamlet - subtrack weaves the threads of a théâtre de la cruaoté, which will inevitably coincide with their self-sacrifice and regeneration symbolic, as it happens during the night 1 and 2 November, including a Saturday and Sunday, that is, between the Day of the saints and the dead, given the timing of the Catholic Church so dear to him. The main hypotheses other hand, is reading a key, set aside the assumptions of the coils of stealing Salò or the 120 Days of Sodom possibly used as bait to lure Idroscalo Ostia, starting from the posthumous Oil identifies its author no longer the victim by the climate of consumerism and indifference by the counterpoint of impregnation of suspicion, hatred and power that surrounded him around 1975 - not only Ostia, not only in Rome, not only "right" and perhaps not only in Italy - but the subject "attention", police jargon as he wishes, the dynamics of 'hate-power "of the sordid details and all, related to its investigation and its revelations (again, "substantively" hidden in the subtext of the book published by Einaudi in 1992) on cases of Italian oil high in muddy metaphor and events of another death, that of Enrico Mattei, and the nascent system of countervailing power of 'a large commission d'etat "of the origins of Bergamo, the former militant of the Division Patriots' Alfredo of God" and president of Eni and Montedison Eugenio Cefis. Too many implications, historical and political pull in the death dance and opera (let's not forget that a work exists, with its forms and its codes, beyond its judicial interpretations, merely "content" and investigations to be reopened) by Pasolini. Too many and too serious, not to take into account these assumptions, but with the benefit of inventory duty: as before a door closed inexorably, being in his hands a bunch with many keys, you just try them all, but without falling in love. Above all, without falling in love with coincidences that seem so important to run the risk of not coincide, nor mean anything and just be ridiculous. Who would ever think - for example, but you could do a dozen in this story - a link between the two Pelosi: Pine, convicted of murdering Pasolini, and Marshal Augustus, Commander of the police station that Landriano first dealing with investigations on Mattei and the fall of his plane in Baschurch? Yet the gap between a "heard", a "meaningful coincidence", a clamor unjustified and foolish un'emerita is very short. The first hypothesis "alternative" into the death of Pier Paolo Pasolini was pursued with dogged consistency, from a lecture at UC Berkeley in 1984, by the painter Giuseppe Zigaina. Pasolini's friend and collaborator, Zigaina is the author of a series of themed texts, published by Marsilio, who at the end of the '80s made headlines, especially abroad, then ending up in a limbo of suspicion and quiet, after all, trivializing receptions: Pasolini and Death. Myth, alchemy and semantics of anything shiny (1987), Pasolini between prophecy, and Enigma (1989); Pasolini and recantation. The sign of living and the dead poet (1993). For Zigaina, that Pasolini was a "yellow purely intellectual," "designed" by his victim-strategist since 1958, structured as a perfect crime as a result of the staging adempiutasi seventeen years after the "cultural ceremony" within a "sacred perimeter 'is spelled out by the soccer field of Ostia. "It was not a murder or a political death," observed Zigaina instead of "meticulously planned disappearance." Aside the tracks in background murder homosexual or "commission" of political masters (now overwhelmingly back), the artist believes that the end of ritual and subsequent flight from the "bourgeois alienation of death" was, for Pasolini, an option intended to inscribe their work in a totality of meaning. In support of the thesis, as well as direct testimony, Zigaina calls in more places-Comments on the sequence of Pasolini: "Until I'm dead no one can really claim to know, that can give meaning to my action, therefore, as when language is badly decipherable. It is therefore absolutely necessary to die. " Taking this route, perhaps legitimately, it is clear that we find ourselves with no way out: to read "paranoid" of Pasolini's texts does not allow any random fact and is lowered in an all-encompassing that they submit, such as voids and fragments individually illegible, the inverted hierarchy of causal links that fills them ex post to their ultimate meaning. Every word is so structured to an end and only one center of indictment: death pending, sought after, even organized. The fundamental question, beyond all, is whether we can take seriously a reading which in itself has a charm explicit, but it contains implicit tendencies and forces in a continuous movement on false texts and facts of life. Clearer, if anything, is the reading that gave Heiner Müller, in a poem titled particularly complex Exactly 409 (the number of the hospital room where he was in October 1995, two months before his death, twenty years from that of Pasolini). Here, the Lutheran and Pasolini pirate "is not" the only intellectual complaint today is the most popular, and he certainly knows how to "throw your body in the fight," but also enter into a second body to vital body with its own contradictions deep, exposing the double register of danger and endless tears, in and out of itself (remember that the Sphinx Pasolini's Oedipus says, "be careful, when I throw the deep inside of you)." In the "end of the poet," Muller then see the fulfillment of a destiny Hamlet and the fatal escape from the dilemma now none of the loss of the sense of the intellectual-driving, at the end of the century. The fate of Pasolini's Hamlet is one of a company at dusk (not just the peasants, even the newly industrialized) and from a smoky place, ready to dissolve all social ties between the coils of mass consumerism, "Blood Wedding / With class that brings the future / Tattooed on his back from the capital / Dawn of a night The night / Dell 'dawn / Then Pelosi put the start / And driving on the owner / NOW YOU WITH YOUR KINGDOM PAUL ITALY "(by Heiner Müller , The invention of silence , edited by Peter Kammerer, Ubulibri 1996). In "Photographic poem" that - under the title Iconography yellowed - dials the second part of the Divina Mimesis, a Dante's descent into hell between the towns of Roma, Pasolini intended to offer pages that "want to have the logic, rather than an illustration, a (though very readable) "visible poetry". " The problem - it is mentioned in relation to Zigaina - it's all in what is meant by "visible" and "readable," which in Divina Mimesis, published in 1975, the author writes in italics. In the iconographic appear juxtaposed the title page of Poems in the form of pink and the picture - the caption reads - "some Group '63. " To them, and the Palermo meeting of the Group dated 1965, alludes Pasolini who, following the literary disagreements erupted on that occasion, he wrote that he was "shot to death with a stick, in Palermo." Some have read this reference to Palermo - again, with varying degrees of awareness - as one of the last readings policies disguised as prophecy of Pasolini, finding a link - anything but unlikely. But you should see that link between Cefis Pasolini had really found, the death of Matthew, the founding of the loggia P2 of which he was the founder Cefis occult and the statements of 4 March, when the doc and Palermo Senator Marcello Dell'Utri claimed to have got hold of the 'Memo 21' of Oil , key text in appearance (as if there was to read and study) to understand and decipher certain passages of recent Italian history and able to shed new light even the death of Pasolini, a sort of "purloined letter" which, contrary to what would happen in a story by Poe, in the end was really stolen and recovered. But, and here is the point, nobody has seen, nobody knows anything, not even Dell'Utri apparently has backed down after declaring that the 'fact' was exhibited at the ancient book which closed March 14 in Milan. The risk of decontextualise Oil is also rich in prophecies, out of context can give rise to a thousand and as many concidenze assumptions, and the more risky the practice of decontextualise because the work is incomplete. It was the magistrate Vincenzo Calia to draw attention to the track-Cefis Mattei, in the course of its investigations filed in 2004, insisting on a libretto by Steimetz, this is Cefis. The other side of honor President (Pasolini, however, also documented on the conference Cefis Military Academy of Modena, dedicated to the power of multinationals and published on the 'Grass I' Elvio Fachinelli, from whom he received materials and copies of the magazine, as evidenced by the Cabinet Viesseux documents preserved in Florence). Investigations has been referred to as Gianni D'Elia, in the chapter "The name of Oil" of his Heresy Pasolini (Feature, 2005) and, more importantly, the massacres Oil (Feature, 2006) and the recent Deep black (Chiarelettere, 2009) by Joseph Lo Bianco and Sandra Rizza. A reading of the paranoid Zigaina could disregard it. Otherwise, it must take into account the readings that focus on oil as a scene of carnage and prophecy in the flesh country. But what kind of "flesh" we talking about? What are the sources of Pasolini? Made indiscreet enough questions in the slums of bad neighborhood, reading the pamphlet written by Steimetz or his representative, and a bit 'of information of uncertain origin to "justify" the plot? This is enough to kill Pier Paolo Pasolini? Certainly, as Franco Fortini wrote on the "Sole 24 ore" (8 November 1992), "every word on Oil, was the most private, does not affect only the assessment of the author but the ways to read the story or chronicle of one of our two decades. Let's talk as well, for heaven's sake: so we do not mean. " There will be perhaps more relevant pages of Oil , with or without an appointment 21? Fortini, while not denying the vital importance of specific steps to understand the delusional microcosm of Italy fifties and sixties, identified "the decisive part" to enter them in the past, comic, ninety pages. With the world of power, it is stated in the epigraph from Mandelstam's e Pasolini in exergue to Oil, "I have maintained that relationship childish." Mandelstam, among other things, ended her days in a prison camp, because of the blatant disrespect of some of his verses on the palace, and in vain asked: "What has become of philology, once our mother? It was blood and intransigence, now blood Dog and appeasement. " Power is a hollow center, seems to suggest oil (which initially had a different idea of \u200b\u200btitle: Vas, empty feeder pigs), but they move around the ghosts that emptiness. And if that void where we are still the key, and not the ghosts?
