Download Improvvisi per macchina da scrivere by Giorgio Manganelli PDF

By Giorgio Manganelli

Il ticchettio della macchina da scrivere, according to Giorgio Manganelli, nasce «dai capricciosi amori di un cembalo estroso e di una mite mitragliatrice giocattolo». Non è un caso, dunque, che nei suoi "Improvvisi" un’incessante mutevolezza di melodie e di fraseggi (ossia di temi e di linguaggi) si accompagni a una tonalità ironico-umoristica percorsa da nere venature malinconiche.
Gli spunti (le «arie» su cui improvvisare) sono spesso offerti da un minimo fatto di cronaca, una polemica frivola, un provvedimento ministeriale bizzarro. l. a. notizia sulle rivendicazioni sindacali dei sagrestani, in line with esempio, consente a Manganelli di elogiare l’operato di queste determine avvolte di «modesta, innocua magia»; l’attacco troppo facile della scienza alla parapsicologia lo spinge a una difesa paradossale («basta forse che una cosa non esista, perché sia impossibile frequentarla?»); e il ritorno domenicale delle targhe alterne gli ispira una pagina memorabile su chi legge Dostoevskij dopo vent’anni o si spezza una gamba in keeping with sfruttare los angeles rapidità delle ambulanze nella città deserta. In ogni passaggio, queste improvvisazioni sono anche inversioni, capovolgimenti del senso comune. Da un lato, l. a. quotidianità più opaca assurge a una dimensione fantastica e metafisica, con l. a. banca trasformata in «un luogo strano», accanto alle stazioni ferroviarie, alle parrocchie di campagna e ai cimiteri. Dall’altro, i massimi sistemi slittano in una dimensione grottesca e prosaica, perché l. a. morte – questa «cosa ridicola» – è stupida «come è un po’ stupido sposarsi». Tutte le apparenze vengono così smascherate in un gioco demistificatorio che sembra fondere miracolosamente Lewis Carroll e Flaiano, e che produce l’effetto descritto da Pietro Citati: «lacrime di gioia, furori di ilarità», che distruggono «le istituzioni, i costumi, le abitudini, los angeles noia dell’esistenza quotidiana».

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I had planned it to be a flashback from Time A (the temporal setting of the main story) to Time B — but what it turned out to be was a flashback, first from Time A to Time B, then within that to Time C, and then to Time D (and one or two flashes within that to Time E); — so that after a couple of thousand words I felt as if I were trying to prove something to Faulkner. And there was my outline staring me in my face with only Time A (which had in the meantime been revised completely out of the written chapter) and Time B planned for.

Excuse the frank criticisms, Don. I want the same, but more I want you to be — — supply the dashes. 6 She is apparently fed up and at that bewildering “falling out of love” stage. 7 Now let me indulge — these are not good but are new — and slightly better. You cannot write: heat and twisted junctions Do not make for perfect journeys cross the continent of things. So if Excuse decides that cramped compunctions Are the cause, remember Daedalus’ wings Brought safety, so be not afraid To scorn the solar Triumph that passion’s fit For greater strength than yours.

I got a poem started — pretty well, I thought — on the honeymoon. But since then, I’ve only been lucky enough to add two lines, and those before I started teaching. I’m looking for the clouds to clear up soon. If not, I’m going to start neglecting my job. I won’t enclose the lines, but hope I can show you a finished version soon. What about Jo? Where is she? And when do you think it would be possible for you all to get married? Be sure to let us know. And send her our regards, or something like that.

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