"Amore, šaltibarščiai e pomodori rossi" al Salone Internazionale del Libro

"Amore, šaltibarščiai e pomodori rossi" era presente alla Fiera del Libro di Torino, sulla rivista ufficiale del salone: Leggere Tutti.
Ottime vendite.

A middle position to keep - a quantum way of writing

I would compare my writing method with that of a scientist who studies the quantum world. Who tries to investigate the visible reality, the Newtonian one, starting from the invisible one - the quantum one – because he knows that if he can explain the Newtonian reality by using the quantum one, if he can find the meeting point between the two realities, he will be able to explain better, to understand in depth the correlations between those two realities.
I started doing this work in 2007 when I published, "Albert Richter, an eagle among swastikas". In that book, the German cycling between the two wars, I tried to identify how Nazism had influenced cycling, and sport in general, and had changed it. And how Nazism actually depended on esoteric influences.
In "The Smile of the Harlot", a 2011 book of mine, I tried instead to analyze the modalities globalism (the financial elites) imposes a reality of crisis on people, with the subliminal aim to educate them to sufferance, and intentionally to provoke in individuals a kind of suffering that affects their interiority at intestinal and bacterial the level, and finally it turns them into intestinal individuals, egotist, hypersensitive, even insane.
In "Cecilia" (2014), story of an alien spy sent on a mission to Florence, there was above all a critique of a different reality, which emanates from the US deep-state, led by aliens. On this mission to Florence Cecilia would know love, and therefore she would have been changed into a human being, and because of this she would have failed her mission.
"Rugile", 2017, a misunderstood text unfortunately - if I consider the idea I had conceived it (an existentialist response to instinct in general, to sexual instinct in particular), has been eventually accepted as the Italian response to “Fifty shades of gray”. But in this novel I sought to explain the instinct, which apparently is illogical and inexplicable, but reveals individuals for what they are, for their condition, placing them naked before themselves, which is able in the end to unite individuals between the two worlds, the Newtonian and the quantum one. Instinct originates in the quantum world but continues into the classical Newtonian realm. Instinct has the same nature of a (quantic-)computer-program that takes place at quantum level but it is ultimately reflected in the visible one (classicality).
To explain the two worlds I developed a method of writing, which was criticized by many publishers to whom I had sent the text. At the end of each chapter I put an appendix (summary) in which, in quantum terms, I explained what was happening in the story and in the characters that were part of the chapter in question. In doing so I was able to give greater depth to the, otherwise, stories of "surface". I allowed myself to investigate a deeper reality, where the impossible and the inexplicable become possible and explainable. The addendum at the end of each chapter, in a world full of zealotry like the Italian editorial world (with very few exceptions), was not well appreciated.
But, all in all, I didn't invent anything. Elsa Morante, in "La storia", had already placed at the beginning of each chapter some historical summaries to explain what was happening in the History of the world in the same time-frame in which the personal stories of the characters of her book evolved, in order to give greater perspective to the miserable and personal events of their daily life..
From this genesis my writing technique is born. A kind of writing aimed at making people think, a writing technique intended to reveal the invisible reality that constitutes (bilds up) the visible and superficial one.
My technique is not essentially a search for the truth but an identification/recognition of those mechanisms that set reality in motion, manipulate it, modify it and create it according to programmed narratives. What interests me is not to take position on the one or the other side, to agree with one and be against the other, but as a researcher, a quantum physicist, I feel called to identify the reasons, the causes, at the base of surface phenomenona, which are never the ones in the way they manifest themselves or are given to be true by the mainstream vulgates (narrative).
It is a median position to keep, to maintain an attitude of non-participatory investigation

Autori lituani: Rasa Aškinytė, "Nel modo più semplice", Vaga, Vilnius 2011.

A partire da oggi presentiamo estratti di autori lituani. Quelli che ci piacciono di più e che pensiamo siano i più interessanti secondo il nostro punto di vista.

E di nuovo… 

ovvero 

Ciò che è più comune è molto più facile 

di quello che pare 

Mi chiamo Thomas. No, mi chiamo Blanka, mi chiamo Blanka. Ho trentacinque anni. Anche se avevo trent'anni non molto tempo fa. Gli anni non vanno sempre secondo un ordine. E cosa ci puoi fare? Puoi fare in modo che il tempo ti obbedisca? Certo che non puoi. Nessuno ci prova seriamente. Così, alla fine, andiamo insieme - gli anni di per sé - noi per noi stessi.
Ho una sorella. E questo è molto. Non tutti hanno una sorella. Voglio avere un fratello, ma non ho un fratello. La sorella è molto più grande di me, e a volte penso che sia mia madre. Gliel'ho davvero chiesto una volta. Mia sorella non ha detto altro ma la madre ha detto "sei pazza".
Così mi risponde ogni due domande, così provo a fare poche domande. A volte parlo davvero in modo strano e mi comporto in modo strano. Mia sorella dice che prima o poi questo succede a tutti. Mia sorella ha ragione. La mamma non le dice mai "sei pazza". E la mamma ha ragione. Tutti hanno sempre ragione, ma io mai. Va bene così.
Ho dimenticato di dirvi un’altra cosa, che davvero io non esisto. A volte vivo con un uomo.
Se mi chiedete se vivo con mio marito, non posso rispondere. Un uomo. Questo è tutto.
Se non vivo con mio marito, vivo da sola. Ho il mio appartamento, o più precisamente, alcune stanze al secondo piano di una vecchia casa di legno. Non c'è un terzo piano. Il primo c’è però e vi abita qualcuno. A volte certi vivono nella tromba delle scale. Persone diverse, ogni notte. O ci vanno per cambiarsi d’abito. Ma la puzza è sempre la stessa, non cambia. Non ho capito se quelle persone siano un uomo o una donna. Non ho mai notato se quella persona è un uomo o una donna. A volte indossa una gonna, ma questo non prova nulla. Stanno nell’ingresso di passaggio, si accomodano sempre nell’angolo e alla fine disturbano tutti. Ma davvero non so perché. Forse sono quel tipo di persone fatte così.
E mi disturbano. Ma mi disturba ancor più che non ci siano scale per il secondo piano. Potreste chiedervi come arrivo al mio appartamento, dunque. Sarebbe logico in ascensore. Esatto, ma dove metterebbero un ascensore in una casa del genere? E che lo terrebbe su? Dovrebbe essere molto leggero. Ma nessuno vive al secondo piano. Solo io.
Si è mai visto un ascensore appositamente predisposto per una persona? E io sono solo io.
Uso una scala. È più difficile quando compro troppe cose. Perché devo salire più volte. Non importa, la scala è carina, l’ho pitturata io. E tutto è bello nel mio appartamento. Ma quando vivo con un uomo, mi trasferisco da lui perché non posso credere che qualcuno voglia non solo vivere con te, ma anche accettare di salire su per una scala.
Finora ho solo parlato delle mie migliori qualità. Ma qui non è un annuncio del tipo "Vorrei incontrare…". E allor perché mentire?
Non ho figli. Purtroppo.
Lavoro al Francia. Questo è il nome del bar dove lavo i piatti. Ma non interrogatevi, su quello che
faccio lì.
No, davvero no – il mio lavoro è contare i soldi. Lavo i piatti in verità, perché lo voglio. (Mi piace guardare, come scorre via l‘ acqua sporca.) Questo è uno dei pochi lavori, che non mi pagano. Per gli altri mi pagano e bene.
A volte, ad esempio, suono per soldi. So suonare il corno. Tanti non sanno suonare il corno. Ho incominciato a imparare quando già lavoravo al Francia. Ma non ho scelto a caso questo strumento. Mi piaceva il fatto che i suoni emessi con il fiato dovessero andare lungo un tubo di quattro metri tutto attorcigliato a forma di spirale. E mi piacque anche l’insegnante. Per qualche mese ho vissuto con lui. Ma non ricordo quanti.
La prima volta lo vidi al Francia.
Credo sia molto importante dove hai visto una persona la prima volta. La prima impressione si forma molto velocemente, e non è solo un problema di come uno si veste, ma anche di dove ci incontriamo. C’è una grande differenze se ci incontriamo all’aeroporto, all’archivio, in biblioteca, nella sala del biliardo, al circo o in un officina, a Dakar o in una serra, all’Hermitage o in una centrale elettrica, in uno studio fotografico, in un commissariato, dai vigili del fuoco, in un negozio di merceria, a Hyde Park o in un harem, A ibiza o all’asilo, su uno yacht o…, ecc., ecc…

Litauische Autoren: Rasa Aškinytė, "Am Leichtesten", Vaga, Vilnius 2011.

Ab heute präsentieren wir Auszüge litauischer Autoren. Die, die uns am besten gefallen und die wir für die interessantesten halten. Rasa Aškinytė, Am Leichtesten, Vaga, Vilnius 2011.

Und noch mal 

oder 

das häufigste ist viel einfacher, 

als es zu sein scheint

Ich heiße Thomas. Nein, ich heiße Blanka, Ich heiße Blanka. Ich bin fünfunddreißig. Obwohl ich vor nicht allzu langer Zeit dreißig war. Jahren gehen nicht immer in einer Reihenfolge. Und was kann man tun? Kannst du machen, dass die Zeit gehorcht dir? Sicher, dass du nicht kannst. Niemand versucht es ernsthaft. So gehen wir zusammen - die Jahre für sich - wir für uns.
Ich habe eine Schwester. Und das ist viel. Nicht jeder hat eine Schwester. Ich will einen Bruder haben, aber ich habe keinen Bruder. Schwester ist so viel älter als ich, dass ich manchmal denke, sie ist meine Mutter. Ich habe es wirklich einmal gefragt. Die Schwester sagte nichts aber die Mutter sagte "du bist verrückt".
So antwortet sie auf jede zweiten Frage, aus diesem Grund versuche ich, wenige Fragen zu stellen. Manchmal spreche ich wirklich komisch und ich sehe komisch aus. Die Schwester sagt, früher oder später passiert dies allen. Schwester hat recht. Mama sagt ihr nie "du bist verrückt". Und Mama hat recht. Alle haben immer Recht, nur ich nicht. Gut.
Ich habe vergessen, euch noch etwas zu sagen, Ich existiere eigentlich nicht. Manchmal lebe ich mit einem Mann.
Wenn ihr mich fragt, ob ich mit meinem Mann zusammen lebe, kann ich nicht antworten. Nur mit einem Mann. Das ist alles.
Wenn ich nicht mit meinem Mann zusammen lebe, lebe ich alleine. Ich habe meine eigene Wohnung, genauer gesagt, einige Zimmer im zweiten Stock eines alten Holzhauses. Es gibt keine dritte Etage. Der erste ist und dort leben Menschen. Manchmal wohnt jemand im Treppenhaus. Das ist jemand, der jede Nacht ist ander. Oder zieht sich einfach um. Aber es stinkt immer gleich. Ich habe nich verstanden, ob jener jemand ein Mann oder eine Frau ist. Niemals habe ich bemerkt, ob jener jemand ein Mann oder eine Frau ist. Manchmal trägt er einen Rock, aber das beweist nichts. Jener jemand liegt nie auf dem Weg, lehnt sich immer an die Ecke und stört trotzdem allen. Ich weiß nicht warum. Vielleicht ist es nur diese Art von Mensch.
Und er stört mir. Und noch stört mir es, dass es keine Treppen zum zweiten Stock gibt. Also, wie komme ich zu meiner Wohnung, könntet ihr mich fragen. Vielleicht komme ich mit dem Aufzug? Das ist richtig, aber wo würdet ihr einen Aufzug in so einem Haus stellen? Und wie würde er sich halten? Es sei denn, er ist sehr leicht. Aber im zweiten Stock lebt niemand, nur ich.
Habt ihr jemals einen Aufzug gesehen, der speziell für eine Person eingerichtet wurde? Weil ich es bin.
Ich klettere eine Leiter hinauf. Es ist schwieriger, wenn ich zu viel kaufe. Dann muss ich mehrmals klettern. Macht nichts, die Leiter ist schön, ich habe mich selbst gestrichen. Und in meiner Wohnung ist alles wunderschön. Aber wenn ich mit meinem Mann zusammen lebe, ziehe ich zu ihm , weil ich nicht glauben kann, dass jemand nur mit dir zusammenleben will, aber auch zustimmt, die Leiter zu besteigen.
Ich nenne nur meine besten Eigenschaften. Obwohl es keine Anzeige gibt "Ich möchte kennenlernen", als ob nichts zu lügen.
Ich habe keine kinder, leider.
Ich arbeite in Frankreich. So nennt man das Café, in dem ich Geschirr spüle . Denkt ihr nicht, dass meine Pflichte sind.

We create eroticism by our observations, eroticism does not create us

"I came to know God experientially, from being fucked in the ass—over and over and over again."
(Toni Bentley, The Surrender: An Erotic Memoir)



Eroticism is A WAY of seeing

Eroticism is the ability to reflect your individual/social values in what you feel when you are aroused.
Eroticism is the state about which an observer can pose questions and find answers about excitement (arousal).
Eroticism is potentiality, where you can find response to sexual instinct, before physical sex.
Putting questions determines the way one conceives sexual attraction. It determines the “Who I am” in sex. A sort of free will in the capacity of being aroused.
Eroticism is all the same for each observer?
Eroticism is not the same for everybody because it depends on your responses “Yes”, “No” regarding being aroused.
There is a misunderstanding, when eroticism is intended like creativity. Eroticism is creativity in terms of being able in getting responses from your instinct, about what arouses you. In doing this, you are linked to all the answers you gave yourself before, in the past (narrative).
Eroticism is pleasure, pleasure to be aroused. Pleasure that comes from the possibility you have to find responses to your instinct, before unleashing it.
Eroticism is a nonlocality-desire. You can have desire for something (you already have) and desire for something else (you don’t have yet). You can desire multiple things at the same time. Or, in other words, you yearn for the possibility to have (all) them.
Eroticism is a form of awareness. Eroticism distances the human mind from mere animal awareness regarding sexual copulation.
Eroticism is a central factor in the process of hominization. This process is the ground for questioning nature. The ground is versus nature, inner and outer, which provides us the way of seeing (awareness).

Is eroticism A cultural drive?

Eroticism manages information in patterns that create libidinous images based on individual sexual instinct(s).

“Bliss, I learned from being sodomized, is an experience of eternity in a moment of real time.”
(Toni Bentley, The Surrender: An Erotic Memoir)

Among animals sexuality is a primary urge serving procreation. Humans, on the other hand, have a sexual life through visualizing sexuality on the basis of their social/individual experiences (narrative-interference). The cultural drive (narrative-interference) determines the characteristic reactions to sexual stimuli in any and every situation in life.

Eroticism AS holographic obsession.

Sometimes eroticism can take on the holographic force of sadistic obsession, as in Junichiro Tanizaki:

Deep in his heart the young tattooer concealed a secret pleasure, and a secret desire. His pleasure lay in the agony men felt as he drove his needles into them, torturing their swollen, blood-red flesh; and the louder they groaned, the keener was Seikichi's strange delight. Shading and vermilioningthese are said to be especially painful—were the techniques he most enjoyed. (The Tattoer)

Deviations (because of interferences) FROM standard morality can breed eroticism.

Mishima in “Confession of a mask” admits that the first time he ejaculated was while masturbating to a painting of Saint Sebastian, which depicted not only a handsome Roman youth, but a handsome Roman youth being skewered by arrows to achieve martyrdom:

It is an interesting coincidence that Hirschfeld should place "pictures of St. Sebastian" in the first rank of those kinds of art works in which the invert takes special delight. This observation of Hirschfeld's leads easily to the conjecture that in the overwhelming majority of cases of inversion, especially of congenital inversion, the inverted and the sadistic impulses are inextricably entangled with each other.

Eroticism occurs WHEN an “act of consent” is given.

It consists of a process of consenting, or of allowing, the action(s) to become a part of the experienced communal reality.

When she closed her eyes she felt he had many hands, which touched her everywhere, and many mouths, which passed so swiftly over her, and with a wolflike sharpness, his teeth sank into her fleshiest parts. Naked now, he lay his full length over her. She enjoyed his weight on her, enjoyed being crushed under his body. She wanted him soldered to her, from mouth to feet. Shivers passed through her body.
(Anaïs Nin, Delta of Venus)

Global (post)feminism is demystifying eroticism.

In the struggle against ‘sexism’ (some) women demanded that we end the fetishization of their breasts and accept them as just another part of a woman’s body. One of the results of this struggle for ‘free nipples’ was that, in some big cities, groups of women organized protest walks where they were naked above the belt – the point was precisely to de-eroticize breasts. We are now entering the next logical step in this direction – the goal is now to ‘demystify’ the ultimate sexual object…So why not go to the end and ‘demystify’ and de-fetishize excrement?...
Doing so we risk to trigger a ‘repressive desublimation’ where our sex organs are desublimated (de-eroticized), and the result is not new freedom but a grey reality in which sex is totally repressed.
(from Slavoj Žižek)

Eroticism is sublimation of ordinary things. Demystifying is de-sublimation of ordinary things. Both depend on the position of the observer.

In an intense erotic interplay, one wrong word, one vulgar gesture suffices, and a violent de-sublimation occurs, we fall out of erotic tension into vulgar copulation. Imagine that, in the thrall of erotic passion, one takes a close look at the vagina of the beloved woman, trembling with the promise of anticipated pleasures, but then something happens, one as it were ‘loses contact,’ falls out of the erotic thrall, and the flesh in front of one’s eyes appears in all its vulgar reality, with the stench of urine and sweat, etc. (And it is easy to imagine the same experience with a penis.)
(from Slavoj Žižek)

What has happened? The vagina has ceased to be an erotic object and has become part of ordinary reality.


The realistically construed point of view about eroticism described in this little essay has three components:

1) a physically described universe of eroticism represented by an evolving stance
2) an ordered sequence of probing questions that arise in the minds of observers
3) a “nature” i.e. sexual stimuli, i.e. the ground for the probing questions posed by observers.

She had masturbated me on the table. With passion and excitement, with anger ... I felt myself in her hands. Helpless. I couldn’t react. I was caught. I was lost. She had my cock in her hands. She commanded. I obeyed. I didn't even exist. She was my mistress, my lady. My goddess. She was my destiny.
(Fabrizio Ulivieri, Rugile)

The ontological character of erotic reality is more mind-like than matter-like. Because the observers, being possessors of thoughts, ideas, and feelings, reflect their “mental stance” in sex.

- Why do you do this job (prostitute)?
- Because I like it
(Fabrizio Ulivieri, Rugile)

Hence eroticism is more like “an idea” about instincts, which rapidly changes like an idea does, when new information becomes available.

There were two forces that gave her a valid reason to exist. Love for that man, love for him, and energy, the overpowering force that came from the cocks.
(Fabrizio Ulivieri, Rugile)

Therefore eroticism is never what was it before. Eroticism you live in each event differs from the eroticism that existed just before that event.

You know when you are attracted to some, there is a chemical thing you can’t really explain it. The minute this man ever touched me for the first time, I didn’t know his name, there was a chemical reaction in my body. And this then lead him being the first man who ever sodomized me […] I was shocked when he did it, I was amazed, he didn’t ask, he just did it but he did it wonderfully and I have to say it changed my life. It taught me how to really surrender (Toni Bentley video interview)


Eroticism is a free choice, which means that this choice is not fully determined by the material aspects of reality alone, but is influenced by an input coming from the mind of the observer.

Q: What I found interesting about your whole sexual experience with this man was that you see you were madly in love with him for five years but you absolutely refused to have any kind of social relations with him. You refused for a film, you refused to share a meal, you had no common friends, it was like a cocoon of sexual experience. Why was that? What you were afraid of?

A: I am afraid of reality, because reality, eventually, usually sooner than later, ruins an erotic relationship…that excitement that magical thing that happens that we are programmed for it, biologically, and it happens because we’re humans with consciousness it becomes as it can…becomes a spiritual thing…that incredible connection you have and then, within time, whether it’s a week, six months, two years, it goes away. I am so interested in the high of that that I wanted to learn how to make it not to go away and one of the ways to do that, one of the component, is keeping reality out…stability in a relationship doesn’t promote erotic excitement. (Toni Bentley video interview)