Fabrizio Ulivieri

In ogni relazione come in ogni lavoro, disciplina, arte, tecnica… vi è un incognita che gioca un ruolo fondamentale: il fattore umano. E nessuno ne è immune. Anche nell’essere felici, una volta raggiunto uno standard di felicità il fattore umano può essere decisivo per gli equilibri. La tristezza di Diego, la sua pigrizia abitudinaria da una parte e la radicalità di Rūta e il suo modo di vivere fondamentalmente com-pulsivo dall’altra costituivano due fattori umani che venivano a confronto. Per quanto si dessero regole sul come cercare la felicità e mantenersi felici tuttavia, i loro istinti, pulsioni, desideri, disposizioni naturali qualora fossero forzati da agenti esterni interferivano sul comune stato di felicità. Il venerdí per esempio nasceva spesso un’interferenza per cui il loro livello di felicità tendeva a collassare....( read more )

Foto by Živile Abrutytė Parašęs „ Rugilė “, maniau, kad tai knyga apie žmogaus būklę ir egzistenciją. Egzistencialistinė knyga. Tačiau šis romanas buvo neteisingai suprastas. Knyga buvo perskaityta labiau kaip knyga apie seksą, gryną seksą, kaip lygiagreti projekcija „ Penkiasdešimt pilkų atspalvių “ (tarsi mestas iššūkis šiai garsenybei) Iš pradžių maniau, kad tokia projekcija naudinga kaip raktas parduodant. Ir tai tikrai padėjo parduoti knygą, bet taip pat paskatino neteisingai suprasti „Rugìle“. Seksas yra kūrybiškumas. Instinktas. Kažkas, kas yra už supratimo . Seksas nėra sąmonė. Seksas nėra racionalumas. Seksas yra instinktas ir neracionalumas, kaip kūrybiškumas. Abu, seksas ir kūrybiškumas, nėra sąmoningas intelektualus gyvenimas, bet kažkaip koduojama, šifruojama informacija, kurios mūsų protas (sąmonė) negali kontroliuoti. Abu išvengia mūsų sąmonės. Romane „Rugìle“ bandžiau išanalizuoti priežastis, kurios lieka už šio instinkto. Bandžiau suprasti šio instink...

I always thought that too much freedom, democratic freedom understood like a form of exasperated individualism (Italian style), is detrimental to creativity. Creativity, the real one, that is linked to the power of internal messages and based on the support of strong values (ideologies, heroism, honour, courage ...). The literary creativeness we are witnessing today is a mere reproduction without any minimal content. Framed Memes . I can not find a better definition. In the words of Curzio Malaparte, La pelle, I find confirmation of how too much freedom can be prejudicial to the individual (and his creativity). Too much freedom is similar to a plague, as Malaparte describes it, in terms of  liberation of Naples by the American force s. "If an Allied soldier leaned out of his jeep and smiled at a woman and then stroked her face in a fleeting and slight way she, preserved dignified and pure up to that moment, would become a prostitute. If a child put a candy to his mouth...

Foto by Živile Abrutytė When I wrote " Rugíle " I thought I had written a book about the human condition and existence. An Existentialist book. But the novel has been misunderstood. It was read more like a book about sex, pure sex, a parallel projection of "Fifty shades of grey" ( ready to challenge the famous Fifty Shades of Grey ) When this projection started I found it useful in sales key terms. And it helped indeed to sell the book but that has led to misunderstand the real message of "Rugíle". Sex is creativity. Instinct. Something that is beyond any understanding. Sex is not consciousness. Sex is not rationality. It is instinct and irrationality, as creativity. Both sex and creativity are not conscious intellectual life but somehow encoded, encrypted bit of information that our mind (consciousness) can not control. Both elude our consciousness. In "Rugíle" I tried to analyse the reasons that stay behind this instinct....

Of those days spent in the farmhouse before leaving to Verona and trying to take the train to Florence Silvano remembered one morning. The sun was already high, and it was hot even though it was September. The sky appeared full of bristly and white cirrus like goat's milk. Twenty girls on bikes had gathered in the Cascina. They wore light dresses that assumed dark shadows under the sun filtered by the cirrus clouds. In the distance, in front of them, stood the a far countryside and a linear white road that stood out as if it was carved against the plain. Silvano stood under the stable's shed and looked at them like one usually would observe a painting. That image of fresh youth, of flesh exposed to the sun, provoked him. Even now the memory of that day made him feel such a strong emotion that even at the age of ninety it could become excruciating. It was the same emotion but a deaf pleasure of his flesh, now. The prostate had been tormenting him for years and only go...

"Odyssey? It is a myth about the nostalgia of returning home, a longing to return home suffered during the long years of "naja" by Italian soldiers taken to fight away from their families, by their worries about how they will return home after the war, by the fear that assaulted them in their dreams and overcome them with the thought of never being able to return, because of strange obstacles that arise on their journey. It is the story of September 8, the Odyssey, the story of many others September 8: the pain and the dread to go home on makeshift vehicles, along countries full of enemies. " (Italo Calvino) - Silvano ... Silvano ... - hissed the comrade from above, to warn him of the gunshots. From below Silvano beckoned him that he had understood. Gunshots were heard in the distance. On the other side of the barracks, in front of the dormitories there was a colonel with a gun in his hand and two soldiers dead at his feet, to whom he had fired becau...

Quando Badoglio annunciò l’armistizio, tutti credettero fosse la pace. L’impulso fu di una gioia sfrenata. Di ritornare a casa. L’Italia si dissolse, l’Italia militare soprattuto. Anche Silvano fuggí. Tutti fuggivano. Il sentiment d’ordine generale era: ritornare a casa. Che altro fare davanti a quel sentiment collettivo che anteponeva la propria pelle a ogni onore? Davanti alla sfaldamento generale di qualsiasi apparente ideologia A Bologna Silvano prese finalmente il treno. Riuscí a prendere quel treno per Firenze. Non vi erano stati controlli particolari a Bologna. Con sua grande sorpresa tutto filò abbastanza liscio. Nello scompartimento, nella panca di legno davanta lui stava un ragazzo di circa vent’anni, che mangiava avidamente pasta asciutta da una specie di gavetta. Il ragazzo si senti osservato. — Che vuoi? — gli chiese senza mezzi termini. Silvano notò il suo sguardo. Non era lo stesso sguardo di tutti i disertori che aveva finora incontrato. Non era lo s...