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GASTONE

You smell under his nose, he takes it with you patchouli. It is the arbiter of literary elegance, who wrote to despise most of our own writers in their novels because there is a hint of sauce and cooking. He praised by authors such as Giorgio Faletti and Alessandro Piperno and reserved his disapproval of many others. Some might wonder why a man is feared, as do the readers to consider a critic. In fact it is as if Oronzo Canà exchange for a prophet of football after seeing coach in football or Renato Pozzetto for a cartoonist because of This and That. It is the place to make him a critic respected, revered, then listened, without making us suspect that sia la parodia. Ovvero è grazie all’autorità e al potere che gli deriva dal pubblicare i suoi pezzi su Sette , l’allegato settimanale del Corriere della Sera . È una firma importante. O come recita con grande autolesionismo la scheda di prenotazione per le librerie del suo primo romanzo in uscita il prossimo ottobre: “… firma la più discussa, discutibile, indiscussa e indiscutibile, rubrica di libri che c'è, nella quale ha cercato di dare agli italiani il gusto di parlare di romanzi e di scrittori con la stessa competenza e passione con le quali di solito parlano di partite e giocatori di calcio”.

Sì, è lui, The Prince of Fane, Antonio D'Orrico. And as confirmed by the board - and stay in football terms - with a brilliant own goal Mondadori, writes about literature as to bar it comes to football.

And further to match bar talk and literature came the longed-for moment of his first novel. Title? Loosely based , SIS Mondadori published in the series, and the literary. Noblesse oblige. That is, as a powerful owner of a weekly column, the publisher is happy to please Antonio D'Orrico.

card that outlines the content (the previous sentence came from the biographical note) is reproduced here as it is, in full, it's worth it. And the parallel with the most trivial examples of parody and homemade Italian cinema is inevitable. If he had more courage than he could touch the sublime Last Tango in Zagarolo , 's Esorciccio or Ku-Fu? From Sicily with fury, but it's still too tied to literary models - out of reach for him - as we suppose, or Arbasino Isherwood. What makes it ludicrous and without the prospect of becoming a cult. The names of the characters to the plot, it does not need comments. Prosit.

Antonio D'Orrico Loosely based in bookshops from October 2010

In the living room of the beautiful Wild Venanzi, the most exclusive Rome, the young, hopeful and excited playwright Vittorio Campari is about to read his new job when Paolazzi Kashmir, the famous journalist , steals the scene and explains to her present yet another, amazing scoop: the invention of the atomic bomb laptop (like the phone) by an Italian scientist forced to emigrate because of the deplorable phenomenon of brain drain. Disappointed by the outcome of what was to be his night, the famous left scippatagli, Vittorio Campari returns to his small apartment in periphery decided to say goodbye to his dreams of literary glory and worldly. Yet that very night when all seems lost, occurs in the life of Victor an unexpected turn double, professional and sentimental, which catapulted him into a series of comic adventures, dramatic, dirty, romantic, Hollywood, Palermo, crazy and criminal.

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ETICA E LIBRI

There are editors who live at the expense of the region with special status, there are publishers who miraculously won tenders to all publications of "edutainment" in some regions, there are publishers receiving regular contributions to the paper in spite of questionable others who are told by the special Commission, "are not publishing culture," there are publishers who duped subsidy funds for the promotion of the culture of some foreign country pretending to be doing in print and "print on demand" only the necessary copies for fiction, there are editors who do not "escape" but "circumvent" ... and then shocked everyone by Mondadori. Nothing is more reflection of a country in the Italian Mafia, basically very similar to a struggle between clan (where the stronger, of course, dominates).

The millions of tax evaded by Mondadori will be paid equally by all taxpayers and, ironically, even who does not read a single book during the year, will contribute to his will. The "Decree 40" called "to aziendam" by some media organizations, which resolves a tax dispute dating back to 1991 has already read. The transaction allows Mondadori to bring 350 million of taxes to 8 and a half, with considerable savings. Obviously, it is worth pointing out the coincidence between the properties of the Mondadori (Berlusconi family) and the current Presidency of the Italian government. The theologian

Vito Mancuso, author Mondadori, presented on August 21 Republic of his case of conscience: "How can I make ethics the lodestar of my theology e poi pubblicare libri con un’azienda che non solo dell’etica ma anche del diritto mostrerebbe in questo caso, una concezione alquanto singolare?” Per poi lanciarsi in un lungo sproloquio (di implicito “lavaggio del sé” con speranza di catarsi, molto cattolico), in cui si dibatte tra coscienza ed esegesi dei meriti editoriali di Mondadori. E alla fine allarga a una corresponsabilità (anche questa procedura mi sembra tipicamente cattolica) in cui chiama in causa suoi esimi colleghi di Repubblica che pubblicano per Mondadori ed editrici controllate: “Sto parlando di firme come Corrado Augias, Piero Citati, Federico Rampini, Roberto Saviano, Nadia Fusini, Piergiorgio Odifreddi, Michela Marzano (…) Eugenio Scalfari, Gustavo Zagrebelsky, Adriano Prosperi…”

In cosa consiste il grosso dubbio di Mancuso, che appare comunque sincero fino all’autolesionismo? “Da un lato un debito di riconoscenza per l’editrice che ha avuto fiducia in me quando ero sconosciuto, dall’altro il dovere civico di contrastare un’inedita legge ad aziendam che si sommerebbe alle 36 leggi ad personam già confezionate per l’attuale primo ministro (…) A tutto questo si aggiunge lo stupore per il fatto che il Corriere della Sera , gruppo Rizzoli principale concorrente Mondadori, finora abbia dedicato una notizia di poche righe alla questione: come mai?”

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right for Courier the following day, which makes the full pages, in which there is an article by Paul Di Stefano fully titled: "A consistency out of time." Di Stefano lists the many opportunities (and reasons) given the controversial nature of dissociation of the Mondadori Group to its authors and promptly rejected. It concludes with a sentence full of inevitable sarcasm: "Let's see if some of the many enemies of the Cayman evoked by Mancuso find the momentum of pride capable of putting into question its consistency civil."

"Pride" is the key word, because Di Stefano, dealing with Italian writers, knows that almost all of leccaculo for their substantial and unavoidable nature. At least 90%. It was another indication contained in the catalog of Mancuso reminiscent of Mondadori and Mondadori money. The writer is a poor (if not a journalist, in this case has a nice salary and write books helps to polish his ego) who dreams of publishing for a large publishing group, so he can hope for: visibility, fame and money. So it is useless to hope in the writers. Some may leave, but not an uprising of all the authors 'left'. But it is also hypocritical to think that there is a good capitalist or left (the second is an insurmountable contradiction in the same theoretical assumptions, the ideal socialism and morphology are the same thing). Just look at the Board of Directors of RCS, Confindustria, not intellectuals. Moreover, if a bad writer fascist Montanelli began to be regarded as a revolutionary hero after fighting with Mr. Berlusconi or "Gladio" Cossiga's death becomes a well-deserving of the Republic is clear that we live in the "gray area". Saviano recognizes the political and social roots in Italian, always repeated that in Italy the "gray area" elusive, opaque, nebulous, because it is made infinite shades of gray "is a global condition, is la regola di ogni aspetto delle relazioni sociali ed economiche italiane: cultura e comunicazione non sfuggono. Il gruppo Mauri o RCS o qualsiasi altro grande editore italiano non sono meglio di Mondadori solo perché non hanno un primo ministro che li aiuta, sono nella zona grigia, operano, come possono, in modo simile…

E a questo punto, a parte lo scarso coraggio degli autori, interviene il rapporto con le competenze: chi lavora e come lavora. Un buon direttore editoriale, un buon editor, un buon redattore valgono più della proprietà della casa editrice, qualora, ovviamente, la proprietà non voglia entrare nel merito (censura o altro…) di ciò che pubblica. Per il resto Mondadori is no different from Fiat, which the Italian state has worked with more dedication than for any other cause. Or from RCS and Rai, Mediaset and the newspapers of the party or not.

What will happen now?

Stefano Mauri of Gruppo Editoriale Mauri Spagnol (which includes, among others Guanda, Longanesi, Salani, Garzanti, Bollati Boringhieri ...) 23, issued a statement to cerchiobottista Affaritaliani.it (where can be found in whole ), containing however many incontrovertible truth, some digs for use by professionals and appropriate omissions. For example: "The writers do not sono calciatori. Lavorano sul lungo periodo. La gestazione di un libro può durare anni e i contratti decenni. Dunque nessuno si aspetti improvvisi cambi di casacca da parte di frotte di autori. Non è nemmeno contrattualmente possibile. (…) Anche piccoli o medi editori indipendenti possono fare la fortuna di un autore e la dimensione della casa editrice non è determinante né per la qualità del lavoro né per i soldi che si guadagnano, visto che gli autori ricevono le royalties in proporzione alle vendite. Certamente se fossi un avversario politico di Berlusconi e pubblicando per lui ricevessi un anticipo ben superiore alle royalties effettivamente recuperate un problema di coscienza me lo porrei. Ma non so se vi siano casi del genere because they have information that belong to the author-publisher relationship. And maybe I would not feel so uncomfortable as I would be if I post my political rival and I would necessarily accept similar doubts of my readers. "

This quote should be enough, because Mauri knows that at least three of these claims are questionable: 1) in some cases an author may release the day after it decided, making the deposit and in some cases paying a penalty, 2) small or medium-sized independent publishers struggling to survive, and who has the biggest Italian book dealer (messenger is in the family holding company Mauri) knows better. Others do their luck. It happens once every ten years, lottery, and 3) higher royalties to the sale or potential sale are regularly paid by publishers to authors in order to tear the competition or simply to please them (especially when it comes to politicians or public figures).

The controversy also extends to the folklore publishing an interview with the author over the top Mondadori Ottavio Chaplains always appeared on Affaritaliani.it " Vito Mancuso's appeal? None of that. Saviano does not sell then as it is useless to 'break'. He is the author of Gomorra to count ... The throw hypothesis entirely without foundation, even if ... Saviano is unable to write the book on cocaine trafficking because under escort. I think there is someone who is advising you to write a book on P3 in the wake of Labor. No coincidence that the most active and Stefano Mauri, shareholder and de The Fact and Chiarelettere. The struggle is underway between Gems and Mondadori (...) I read the speech Mauri, who is smart and wants Saviano and the other authors Mondadori, lowering prices. Start making trouble. The contracts to be complied with, the fact that it is not easy to change his jacket in progress. It is very simple: the authors Mondadori that may pass with the Mauri-English group would see their advances reduced to a flicker because the Gems would have to pay penalties. Mauri, who is good at this Mondadori is currently promising to authors only editorial work and hype. While the Mondadori continue its policy of bank transfers of large advances. Mondadori bet that no one will leave? The advice to wait a bit ', I have an intercept of Saviano that sooner or later I'd like to publish. I assure you that at that point Mauri Saviano if you buy two pounds ... "

is what will happen if the controversy continues, the authors set out as Saviano will be placed in difficulty, forced to a choice by factors unrelated to their author's path. For most others, who never put together to say we stop with Mondadori to publish, you just have to wait, affinché l’imbarazzante polemica si esaurisca risucchiata nell’oblio della “zona grigia”.

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CONFESSIONALE

Voler conoscere uno scrittore perché si amano i suoi romanzi è un’aberrazione, ma come si può definire il caso di uno scrittore che vuole farci conoscere la sua vita per evitare di essere identificato con gli aspetti più “scorretti” della sua opera?

Purtroppo questo è il caso di J.G. Ballard che ne I miracoli della vita ( Miracles of Life , edito in Italia da Feltrinelli) rinnega l’implacabile geometria dei suoi written to seek an acquittal near death. Even admits, at the end of which was his doctor who suggested to write his autobiography that, once recognized his status as terminally ill and in anticipation of the inevitable solution to the evil. Thus, a therapeutic writing that goes to muddy the surgical precision than previously produced by Ballard. What emerges is a pervasive desire to reassure the reader (and he himself), close to his death. But what about the rim of the abyss on which we did look out of the stripping of the horizon of history and anthropology (and social and psychological, to be honest) made with books like Atrocity Exhibition or Crash? The end of civilization as extreme nullification of being told in stories and novels, split mimetic "fiction", in which the inner space overflows to become an ambiguous global landscape? Of autobiography that put into play the historical point of view to clear right and wrong, good and evil, as implied in Empire of the Sun or The Kindness of Women ? All

denied, betrayed by the urgency to feel the weight of feelings. JG Ballard suddenly feels the need to explain the importance it had for him the things he has done, almost I implore the reader to remember his life and his work. Or better yet, read his books as a result of a project abstract and not a vocation. Explain every background and every moment of its existence, in most cases separated from what he wrote, almost apologetically, if at times his lyrics are knives tucked in the heart of the hypocritical so-called reality, bringing everything to a mild family home, full of family photos of parents, children, wives and inspections. He wants to say it was a nice and daredevil child, a loving husband, caring father, a boy ... even indulge in gossip cloying, boosting the bass player of voyeurism to the system approved dei best-seller, quando un tempo il suo era invece un voyeurismo che scendeva implacabile nelle profondità inammissibili della psiche.

L’unica soluzione possibile è togliere questo volume zuppo di patetismo dalla bibliografia di Ballard.

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HIROSHIMA MON AMOUR

Footnotes in Gaza … chi sono le “note a margine della Storia” di cui parla Joe Sacco nel suo ultimo reportage disegnato dalla Palestina? Persone destinate a svanire ai margini degli eventi, a essere risucchiate nella rincorsa esponenziale a un computo delle vittime del conflitto. Per realizzare questo libro, Sacco returned to the Gaza Strip, intending to document a crucial year in the relationship between Palestine and Israel: 1956.

think you live in an area that seems to have pointed to the index case of destiny. And that destiny remain hostage. To live in the middle of a perennial international crisis but not quite important and meaningful to participate. Eventually that frustration, that of a people condemned to share that can only hate and not hope, it will seem sufficient to justify suicide bombings.

Sacco performed his research on two tracks, past and present. The Palestinians contemporaries (younger), ask him why he wants to talk about the facts of fifty years before, and insist that this is much worse. While living in direct systematic destruction of Palestinian homes by Israeli armored bulldozers, Sacco goes hunting for evidence of the past, bringing each of these entries with name and surname (insistently, over and over ...). It is a book about removals and he tries to replace the fabric of the greater part of the story notes that the flow of information eliminates violently every day. In 1956, the Palestinian people is pushed in a struggle for economic and political interests on the international stage: Egypt, Great Britain, France, Soviet Union, the United States ... all more or less involved in the crisis, with Israel ready to take this opportunity to crush what remains of Palestine.

There is talk of two towns in the Gaza Strip: Khan Younis, where a pretext (invented post ...) and rake the Israelis brutally kill males valid, and Rafah, where instead, in those same days in November, the males are collected in a school like a lager, humiliated and sometimes beaten up.

In this report we obtained through the testimonies (sometimes conflicting because of all the facts before the trauma survivor often recombines the elements in the most useful way to survive the shock) the harm suffered more humiliation that is dying, Cancellation of the body as identity. The Palestinians are killed when they can no longer be humiliated. And the Israeli leadership shows that the removal of knowing the identity of a nation is more effective when it hits the network, if it destroys the social fabric, its ability to regroup, the leaders are not only a consequence of the spirit a people. In an inspired sequence of past and present, Sacco suggests that the systematic destruction of homes today is nothing more than an update of the summary executions of fifty years ago. Return to History of Palestine, its footnotes, it means to give a people their identity.

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arrives in a van or a passage for access to a courtyard. Waiting for him as if to bring the pork chops for the grill and gets excited like a boyband groupie. Old video of Kimbo Slice, left to float on the network, in which the struggle in a boat or in a storage yard. I am the very idea of \u200b\u200bstreet fighting: two men that if the damage of holy right, but one of them is the star: if you break your face (or head ...) is not a problem, indeed, you had a great honor. His personality, that of fighter invincibile, si è trasferita in te. La sua leggenda ti ha toccato e ha fatto di te un uomo migliore È un rito di passaggio tramite sottomissione, da cui non esce uno sconfitto ma un uomo.

Sono incontri passati alla storia, perché Kimbo Slice è divenuto un mito. Ormai combatte nel circuito dell’MMA, Mixed Martial Arts, e viene pagato per fare ciò per cui una volta rischiava di essere arrestato e sbattuto in galera. La sfida non è più quella, le scommesse non sono più clandestine. Quei video presi furtivamente per strada hanno l’estetica del cinema porno (e suscitano in noi lo stesso sentimento contrastante di assistere a uno spettacolo brutale ma eccitante) e sopravvivono non come documenti ma as contemporary anthropological territory, after having been seen thousands of times they stopped to document a fragment of reality, almost choreographed in their violence. They have no untrue fake, grotesque, allegorical as a pagan rite. Kimbo now fight on TV in a cage as he prepared against opponents, win or lose, but his clandestine meetings are the roots of a practice. The prying eyes, observed and recorded a repeatable event.