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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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BODY LANGUAGE

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.