review published in:
Literary.it
Modulazioni.it
The parenthesis of scrittura.myblog.it
BDM.it
sufficient grace (Campanotto, Udine 2010) Giancarlo Micheli
"Of all the things that satisfy people's needs man attaches the greatest value to those who are less than the essential." It is one of the many aphorisms that dot the text Micheli. It is an aphorism from an oriental flavor, almost a maximum Confucian, but also a Western ruling, which contains an implicit criticism of capitalism in the West had its beginnings. I would propose as the key to reading the novel Micheli overlap, the overthrow of East and West that is found throughout the text, beginning with the title: The sufficient grace. An appropriate title for full Catholic theology, and then west. Sufficient grace is the grace that we lost after the fall of original sin, grace is efficient but the gift God gives us to recover the original grace through the death and resurrection of Christ. That's sufficient grace, after all, is the fundamental concept of Protestant theology, particularly the doctrine of predestination, in which Weber, as is mentioned in a passage from the book, sees the point germ Protestant ethic of capitalism. So a title that makes explicit reference to Christian theology, western, but for a novel set in Japan. Two characters: a Japanese Taisho, who is studying to comply with the Western model, and a Dutchman, Baruch, who live in Japan and will take on the habits and customs of the place. The main scene of the novel is set in Nagasaki, a city that, after a few years from those in which the narrated events take place, was the most devastating impact point in the encounter between West and East. The book offers a rich sampling of these meeting places and reversal, one of which is its wealth. A wealth of understanding in the Western sense, under the category of quantity, but not detached from a corresponding meaning east, as inner richness and dissipation of it. Wealth is also the figure most obvious stylistic concretion of the work. Micheli is that of a refined style, detailed, high, which uses a continuous use of words obsolete, archaic, but not because it excluded the use of everyday language, there is a clear attempt to bring a richness to our language that is proper , at a time where you are, of course ascertained terribly impoverished. The author makes literary criticism somewhat of a worry, completely misrepresenting this particular point. Even well-known literary critics, while recognizing the value of a writer, criticize Micheli, those who directly indirectly, the limit of the style. I find it as a rebuke to move the Mona Lisa because not all smiles at the mouth or at least not if they're serious portraiture as he wants. The style is rather unique element of writing Micheli. A style that undoubtedly requires a great deal of attention, the reader requires the same effort required to put the author on the page. Only if we consider the literature as recreation, can be criticized for a style so personal and so successful. A style is too sophisticated, è stato detto; sicuramente ricercato, nel senso però di frutto di una ricerca, che, peraltro, ottiene evidenti risultati. La grazia sufficiente è il terzo romanzo del Micheli; chi conosca i precedenti sa delle difficoltà che si incontrano nell’affrontarne le prime pagine, e sa anche del piacere che si prova ad andare avanti, sa della facilità con cui, una volta che si sia acquisita familiarità con i modi narrativi dell’autore, si voglia impazientemente arrivare all’epilogo e come, guardandosi poi indietro, si rimanga estremamente grati alla ricercatezza e al non svilimento di parole che costituiscono il valore della lingua italiana. Tipico dello stile del Micheli è un continuo, quasi ossessivo, accoppiamento of noun and adjective, noun and adjective often. Cesare Pavese writes in the business of living: "Although we feel a thrill of joy to find an adjective to a noun coupled with success, who never saw a whole, is not surprised with the elegance of the thing, the readiness of mind, all ' technical skill of the poet that touches us, but wonder at the new reality brought to light. " The value of the prose of Micheli lies exactly in the capacity deployed in every phrase and every time, to bring forth new realities, first language, but that change, then, new realities purely perceptual. At the end of reading a novel we get a perception Micheli existent extremely richer than we had first mate. Also from the narrative point of view we find a similar abundance (wealth) of themes and structures. And I am sure the less critical attention will be ready to claim the right stick. Here, too, would be only a mistake, however, essential. Two independents, the reincarnation of the other one, perhaps, meet in a shaded, in a dream, a dream-like reunification. They meet again, perhaps, again in the concluding chapter. All this takes place in forms and states of consciousness very similar to those attributed to Hesiod Hypnos, son of Night and the brother of Death. Here the dream is the threshold between the world of privileged dell’al di qua e la vita dell’al di là, tra la realtà presente ed una ulteriore. Il sogno, sia nella filosofia orientale che nella nostra occidentale, è stato da sempre considerato manifestazione di una realtà parallela, alternativa, portatrice di messaggi peculiari e verità più profonde; dopo che il razionalismo moderno lo ebbe relegato entro i confini dell’illusorio, si sono dovute attendere le prove fornite dalla psicanalisi affinché fosse rimesso al posto che gli compete. In tal senso si potrebbe dare allo stile di Micheli la definizione di realismo onirico, così come di onirico realismo si compone la narrazione della Cabala. Anche nella struttura narrativa de La grazia sufficiente ritroviamo due serie parallele and intertwined with each other: once again the West, in precise language and cultural references, and East, the fundamental concepts of possibility and dissipation. Certain people, certain events are presented with clear signs of being decisive for the rest of the story, and instead appear as so disproportions. Sometimes it seems that the story takes some away, but soon after they take a rather different and unpredictable. Characters who seem to be co-stars then vanish into thin air, just like in the dream, just as in life, in reality. The wisdom of the East understood the concept of equal opportunity as the mean of the extremes. Only Bruno and Spinoza, in Western philosophy, expressed concezioni simili. Non a caso il protagonista del romanzo di Micheli, ebreo convertito al calvinismo, porta lo stesso nome di battesimo di Spinoza, Baruch. La cifra che caratterizza i personaggi del romanzo e le loro relazioni non è l’equidistanza, di consuetudine e stampo occidentali, bensì la equiprobabilità; non è la mezza misura, la medietas, la mediocritas, ma piuttosto una fluttuazione attiva, un movimento che si dispiega di nuovo come in sogno, ancora una volta come nella realtà. Il movimento nella filosofia orientale è un processo, una via; la parola Tao significa ciò: la via. Il filosofo taoista Meng Zi scrisse: «Si lede il Tao se ci si attiene all’uno, se si accoglie un principio e se ne trascurano hundred. " Taoism, therefore, invites us to contemplate the equal probability of an event and its opposite. All text is Micheli, somehow, a repetition of this Eastern wisdom. It seems that something happens, but its occurrence vanishes into thin air, but can not get prepared interweaving importance suddenly revived and the narrative. Returning for a moment, on consideration of the plan language, the language of the novel by Micheli is influenced by their ways of depicting the cultural world, expressing in a few steps to speak, for additives. In order to speak a sentence of the East will not close as you think and you close in the West but, so to speak, is reabsorbed just mentioned. As in this fable that is in the book of Zhuang Zi: "The teacher was asked:" What is wisdom. " The master replied: "A breeder of monkeys with monkeys handing out acorns, saying, I'll give you three acorns in the morning, four in the evening. The monkeys showed nervous. I will give you four in the morning and three in the evening. The monkeys were left spellbound. " These are hints that do not belong to the rationality concluded, that needs immediate significance, which is in the form typical of western philosophical essay. Even the exergue of the novel by Micheli is based on the book of Zhuang Zi, "Zhuang-zi Once he dreamed that he was a butterfly svolazzante e soddisfatta della sua sorte e ignara di essere Zhuang-zi. Bruscamente si risvegliò e si accorse con stupore di essere Zhuang-zi. Non seppe più allora se era Zhuang-zi che sognava di essere una farfalla, o una farfalla che sognava di essere Zhuang-zi. Tra lui e la farfalla vi era una differenza. Questo è ciò che chiamano la metamorfosi degli esseri”. Questo movimento è quello del Tao, la via. E il libro di Micheli si chiude con una seconda sentenza del libro di Zhaung Zi, riportata nella nota che chiosa l’ultima frase del testo: “Il Tao supremo non ha nome; il discorso supremo non ha parole; la benevolenza suprema esclude qualsiasi benevolenza parziale; la purezza suprema è senza ostentazione; il coraggio supremo is free from cruelty. " Nell'allusione, in the suggestion, in the vague sense is the foundation of Eastern wisdom. Wei in Chinese, the word has a double meaning: meaning and flavor. The sense is taste. Moreover, even in our language the word wisdom comes from the Latin flavor. The logic of the Eastern philosophical discourse is not of type rational (ratio), allocating, but it is a fuzzy logic, that counts and let loose on the taste buds of the mind or soul. In oriental thought there is the opposite of the truth, but is not, as in the West, falsehood, is quite bias. This is not true that fails to embrace all the possibilities of what exists. It is, therefore, a kind of logic entirely opposed to the exclusive (non-contradiction, excluded middle) that underpin Western thought since Aristotle. This logic is rather inclusive, every possibility is mobile and fluctuating, and appears everywhere throughout the novel Micheli. Auguste Blanqui, Nice revolutionary who was interned in the prison of Chateau d'If following the failure of the Paris Commune which had been a member, had an idea absolutely East, which later included in Nietzsche's concept of eternal return, and that may well illuminate the storyline adopted by Micheli. Write a short essay of 1871 Blanqui in Eternity par les astres: "There is a land where every man follows the path that he despised his double in the other. Its existence is split into two different spheres, and then forks a second, a third time, thousands of times. So has the identical look-alike and impersonator countless variations, which are multiplied by the same person, but only fragments that share the same fate. Everything that could have been here, it is elsewhere, somewhere else. " Visionary idea and terribly fascinating elsewhere continue to live here the chances that we discarded. This wise use of the concept of possibility is also that the merit should be given to a book like The sufficient grace, the author of which we must be grateful for a text of so much wealth in so dark a moment of cultural poverty, a text so rich to dissipate, the dream to show that the real is made up of many different possible that we shy away when we are overwhelmed by fear, or when we perceive them as potential unforeseen obstacles to the tranquilizer predictable and which, through fear, there private. Kong Zi writes in the book of the Dialogues on Sun Yu: "I look up and it is always higher. I try to enter and is increasingly impenetrable. I see in front and behind of a sudden. "
Literary.it
Modulazioni.it
The parenthesis of scrittura.myblog.it
BDM.it
sufficient grace (Campanotto, Udine 2010) Giancarlo Micheli
"Of all the things that satisfy people's needs man attaches the greatest value to those who are less than the essential." It is one of the many aphorisms that dot the text Micheli. It is an aphorism from an oriental flavor, almost a maximum Confucian, but also a Western ruling, which contains an implicit criticism of capitalism in the West had its beginnings. I would propose as the key to reading the novel Micheli overlap, the overthrow of East and West that is found throughout the text, beginning with the title: The sufficient grace. An appropriate title for full Catholic theology, and then west. Sufficient grace is the grace that we lost after the fall of original sin, grace is efficient but the gift God gives us to recover the original grace through the death and resurrection of Christ. That's sufficient grace, after all, is the fundamental concept of Protestant theology, particularly the doctrine of predestination, in which Weber, as is mentioned in a passage from the book, sees the point germ Protestant ethic of capitalism. So a title that makes explicit reference to Christian theology, western, but for a novel set in Japan. Two characters: a Japanese Taisho, who is studying to comply with the Western model, and a Dutchman, Baruch, who live in Japan and will take on the habits and customs of the place. The main scene of the novel is set in Nagasaki, a city that, after a few years from those in which the narrated events take place, was the most devastating impact point in the encounter between West and East. The book offers a rich sampling of these meeting places and reversal, one of which is its wealth. A wealth of understanding in the Western sense, under the category of quantity, but not detached from a corresponding meaning east, as inner richness and dissipation of it. Wealth is also the figure most obvious stylistic concretion of the work. Micheli is that of a refined style, detailed, high, which uses a continuous use of words obsolete, archaic, but not because it excluded the use of everyday language, there is a clear attempt to bring a richness to our language that is proper , at a time where you are, of course ascertained terribly impoverished. The author makes literary criticism somewhat of a worry, completely misrepresenting this particular point. Even well-known literary critics, while recognizing the value of a writer, criticize Micheli, those who directly indirectly, the limit of the style. I find it as a rebuke to move the Mona Lisa because not all smiles at the mouth or at least not if they're serious portraiture as he wants. The style is rather unique element of writing Micheli. A style that undoubtedly requires a great deal of attention, the reader requires the same effort required to put the author on the page. Only if we consider the literature as recreation, can be criticized for a style so personal and so successful. A style is too sophisticated, è stato detto; sicuramente ricercato, nel senso però di frutto di una ricerca, che, peraltro, ottiene evidenti risultati. La grazia sufficiente è il terzo romanzo del Micheli; chi conosca i precedenti sa delle difficoltà che si incontrano nell’affrontarne le prime pagine, e sa anche del piacere che si prova ad andare avanti, sa della facilità con cui, una volta che si sia acquisita familiarità con i modi narrativi dell’autore, si voglia impazientemente arrivare all’epilogo e come, guardandosi poi indietro, si rimanga estremamente grati alla ricercatezza e al non svilimento di parole che costituiscono il valore della lingua italiana. Tipico dello stile del Micheli è un continuo, quasi ossessivo, accoppiamento of noun and adjective, noun and adjective often. Cesare Pavese writes in the business of living: "Although we feel a thrill of joy to find an adjective to a noun coupled with success, who never saw a whole, is not surprised with the elegance of the thing, the readiness of mind, all ' technical skill of the poet that touches us, but wonder at the new reality brought to light. " The value of the prose of Micheli lies exactly in the capacity deployed in every phrase and every time, to bring forth new realities, first language, but that change, then, new realities purely perceptual. At the end of reading a novel we get a perception Micheli existent extremely richer than we had first mate. Also from the narrative point of view we find a similar abundance (wealth) of themes and structures. And I am sure the less critical attention will be ready to claim the right stick. Here, too, would be only a mistake, however, essential. Two independents, the reincarnation of the other one, perhaps, meet in a shaded, in a dream, a dream-like reunification. They meet again, perhaps, again in the concluding chapter. All this takes place in forms and states of consciousness very similar to those attributed to Hesiod Hypnos, son of Night and the brother of Death. Here the dream is the threshold between the world of privileged dell’al di qua e la vita dell’al di là, tra la realtà presente ed una ulteriore. Il sogno, sia nella filosofia orientale che nella nostra occidentale, è stato da sempre considerato manifestazione di una realtà parallela, alternativa, portatrice di messaggi peculiari e verità più profonde; dopo che il razionalismo moderno lo ebbe relegato entro i confini dell’illusorio, si sono dovute attendere le prove fornite dalla psicanalisi affinché fosse rimesso al posto che gli compete. In tal senso si potrebbe dare allo stile di Micheli la definizione di realismo onirico, così come di onirico realismo si compone la narrazione della Cabala. Anche nella struttura narrativa de La grazia sufficiente ritroviamo due serie parallele and intertwined with each other: once again the West, in precise language and cultural references, and East, the fundamental concepts of possibility and dissipation. Certain people, certain events are presented with clear signs of being decisive for the rest of the story, and instead appear as so disproportions. Sometimes it seems that the story takes some away, but soon after they take a rather different and unpredictable. Characters who seem to be co-stars then vanish into thin air, just like in the dream, just as in life, in reality. The wisdom of the East understood the concept of equal opportunity as the mean of the extremes. Only Bruno and Spinoza, in Western philosophy, expressed concezioni simili. Non a caso il protagonista del romanzo di Micheli, ebreo convertito al calvinismo, porta lo stesso nome di battesimo di Spinoza, Baruch. La cifra che caratterizza i personaggi del romanzo e le loro relazioni non è l’equidistanza, di consuetudine e stampo occidentali, bensì la equiprobabilità; non è la mezza misura, la medietas, la mediocritas, ma piuttosto una fluttuazione attiva, un movimento che si dispiega di nuovo come in sogno, ancora una volta come nella realtà. Il movimento nella filosofia orientale è un processo, una via; la parola Tao significa ciò: la via. Il filosofo taoista Meng Zi scrisse: «Si lede il Tao se ci si attiene all’uno, se si accoglie un principio e se ne trascurano hundred. " Taoism, therefore, invites us to contemplate the equal probability of an event and its opposite. All text is Micheli, somehow, a repetition of this Eastern wisdom. It seems that something happens, but its occurrence vanishes into thin air, but can not get prepared interweaving importance suddenly revived and the narrative. Returning for a moment, on consideration of the plan language, the language of the novel by Micheli is influenced by their ways of depicting the cultural world, expressing in a few steps to speak, for additives. In order to speak a sentence of the East will not close as you think and you close in the West but, so to speak, is reabsorbed just mentioned. As in this fable that is in the book of Zhuang Zi: "The teacher was asked:" What is wisdom. " The master replied: "A breeder of monkeys with monkeys handing out acorns, saying, I'll give you three acorns in the morning, four in the evening. The monkeys showed nervous. I will give you four in the morning and three in the evening. The monkeys were left spellbound. " These are hints that do not belong to the rationality concluded, that needs immediate significance, which is in the form typical of western philosophical essay. Even the exergue of the novel by Micheli is based on the book of Zhuang Zi, "Zhuang-zi Once he dreamed that he was a butterfly svolazzante e soddisfatta della sua sorte e ignara di essere Zhuang-zi. Bruscamente si risvegliò e si accorse con stupore di essere Zhuang-zi. Non seppe più allora se era Zhuang-zi che sognava di essere una farfalla, o una farfalla che sognava di essere Zhuang-zi. Tra lui e la farfalla vi era una differenza. Questo è ciò che chiamano la metamorfosi degli esseri”. Questo movimento è quello del Tao, la via. E il libro di Micheli si chiude con una seconda sentenza del libro di Zhaung Zi, riportata nella nota che chiosa l’ultima frase del testo: “Il Tao supremo non ha nome; il discorso supremo non ha parole; la benevolenza suprema esclude qualsiasi benevolenza parziale; la purezza suprema è senza ostentazione; il coraggio supremo is free from cruelty. " Nell'allusione, in the suggestion, in the vague sense is the foundation of Eastern wisdom. Wei in Chinese, the word has a double meaning: meaning and flavor. The sense is taste. Moreover, even in our language the word wisdom comes from the Latin flavor. The logic of the Eastern philosophical discourse is not of type rational (ratio), allocating, but it is a fuzzy logic, that counts and let loose on the taste buds of the mind or soul. In oriental thought there is the opposite of the truth, but is not, as in the West, falsehood, is quite bias. This is not true that fails to embrace all the possibilities of what exists. It is, therefore, a kind of logic entirely opposed to the exclusive (non-contradiction, excluded middle) that underpin Western thought since Aristotle. This logic is rather inclusive, every possibility is mobile and fluctuating, and appears everywhere throughout the novel Micheli. Auguste Blanqui, Nice revolutionary who was interned in the prison of Chateau d'If following the failure of the Paris Commune which had been a member, had an idea absolutely East, which later included in Nietzsche's concept of eternal return, and that may well illuminate the storyline adopted by Micheli. Write a short essay of 1871 Blanqui in Eternity par les astres: "There is a land where every man follows the path that he despised his double in the other. Its existence is split into two different spheres, and then forks a second, a third time, thousands of times. So has the identical look-alike and impersonator countless variations, which are multiplied by the same person, but only fragments that share the same fate. Everything that could have been here, it is elsewhere, somewhere else. " Visionary idea and terribly fascinating elsewhere continue to live here the chances that we discarded. This wise use of the concept of possibility is also that the merit should be given to a book like The sufficient grace, the author of which we must be grateful for a text of so much wealth in so dark a moment of cultural poverty, a text so rich to dissipate, the dream to show that the real is made up of many different possible that we shy away when we are overwhelmed by fear, or when we perceive them as potential unforeseen obstacles to the tranquilizer predictable and which, through fear, there private. Kong Zi writes in the book of the Dialogues on Sun Yu: "I look up and it is always higher. I try to enter and is increasingly impenetrable. I see in front and behind of a sudden. "
Stefano Busellato
Giancarlo Micheli, sufficient grace (Campanotto, Udine 2010)
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reading from the prologue
Iacopo Vettori
