"[...] anche lui «scenderà» in politica e la sua non sarà un «ingresso» ma una «discesa»": così a p. 16 di un librino ancora caldo di tipografia, dal titolo Sulla lingua del tempo presente , preso al volo dagli scaffali d'una libreria di aeroporto (ohibò!) sul farsi del giorno e prima che Apollonio si rendesse conto, ad apertura del quotidiano che teneva sotto the arm, that it had already reported promptly to appropriate laudatory review. For lovers of language, as the two are supposed to be loyal readers of Apollonius, the unusual form of agreement is usually the most interesting aspect of a total of fifty-eight pages. You are here offers a possible modest reflection of style and grammar, as a simple given.
From a huge poster at the airport, Uma Thurman looks intense who passes on the background but at the center, an Italian car, a brand of traditional sports. Everything else is on the dark: an absence color of mourning. The actress, however, is perverse image of a white (as everyone knows) and the car is white. The rear lights are very much like the red lips in the foreground of a red blood alive and ready to open to say, in large letters: "I am Juliet and are made of the same stuff of which dreams are made of." The reference and run and, from the middle of the twentieth century, consolidated in Italian popular culture. Moreover, the car brand has Romeo as part of its name. Almost sixty years ago, appeared so Juliet, as the name of a successful model, that resonates in the memory of Italian explosive, however, not only for sporting Wikipedia e perché fu un'auto simbolo del cosiddetto boom economico. Capitava infatti fosse l'auto d'elezione, al Nord, di caserecce, ma non per questo meno sanguinarie, bande di gangster. Ricorreva di conseguenza nella cronaca nera, in appassionanti racconti di inseguimenti e conflitti a fuoco. Imbottita di tritolo, poi, un'auto con quel nome fu, al Sud, lo strumento di un subdolo e sanguinoso attentato: il primo del genere di matrice mafiosa (come poi si sarebbe preso a dire). Un'auto, insomma, con molte storie da raccontare, anche tragiche e intrise di rosso. Con naturalezza, di conseguenza, può trovarsi impersonata da una testimonial che ha avuto ruoli in pellicole paradigmaticamente sanguinolente. Anglo-Saxon, of course, but in this case apparent interpreter, as Juliet, a tale of Verona and the environment, par excellence, Italian: substance, precisely because the Italian appearance. To contact alienating, moreover, the declaration of identity is interwoven with the fate of a famous character named Prospero ago but is on an island in the storm and great, between the poles Italians in Naples and Milan. In fact, not name, so maybe not imagine the potential buyer of that car sport? Owner of a stormy prosperity, if marked, vaguely gangster, or prosperity in the storm, in the case of non-labeled right-thinking an escape. not indignant At this point the reader of looting vulgar, commercial purposes (and here, parasitically, comment) from one of the most precious treasures of ingenuity. There is such a pearl of wit that stupidity can not make it in an instant. The blame is always intellectual, which aspires to utter public verb. It does so because it relies on the idiocy that, obviously, the gnawing from within like a worm. Granted the ingenuity of its own idiocy contrastive, it's no surprise that within its walls, towering uselessly at that point, begin to assemble the relentless idiocy of the world, the principle of these vessels (not applicable) communicating . But here, precisely, what, who cares? Matter rather than the pretext of that text (and present), depending on the topic in which they are ordered, that car is in fact Italian. It is the symbol of the paradigmatic social comedy of appearances, of course, but also because the Italian of doubtful reliability and precarious mechanical operation. The climate (or storm) want, then that has to emerge, by contrast, in a segment of the international market tightly guarded by German sports car. These also convey values \u200b\u200bof appearance, of course. For Protestant ethic, serving them all, however, with the prevailing stigma of a mechanical strength, the promise of continued non-ultra-human, but inhuman. On this field, the Italian sports car is not can compete, because at least the imaginary (for the rest, who knows?). How to pray, but has its its flaws. It is transient? It is not transient charm? It is ephemeral? And is it not more oltracotante as ephemeral beauty? As the human flesh, which is apparently made of dreams of those who caresses, the Italian car is destined to decay quickly, to break up. The Protestant ethic inhuman rigor and clarity in advertisements of German cars competing. But the clarity is chilling. It is opposed to the exciting and uncertain chiaroscuro (light and darker) an attitude of moral Counter post-modern. Better, ci dice quel manifesto, il sangue e la perdizione; meglio il gusto dolciastro o amarognolo di dubbie moralità che si riscattano nella consapevolezza dell'essere sogni, ombre pronte a svanire. Meglio restare, irriverenti ma modesti, nel sacro recinto del limite. Ebbri di piacere per una meccanica, come l'umana, imprecisa e precaria, meglio ascoltare l'ammonimento morale che ne sortisce: un'auto che sia anche un memento mori . "Senza cuore" - conclude del resto perentorio il manifesto: ed è una macchina che parla - "saremmo solo macchine". Non immortali, come dicono di sé (e sono autentiche venditrici di fumo morale) le auto tedesche. Ancora meno che umani, invece, perché "senza cuore" nel culto della FINITURA: private che soprattutto del Riscatto assicurano the e finitezza the dead.
"No other novelist of the English language - written Ignacio Ramonet Mario Vargas Llosa, to whom he devotes an article in the November 2010 Monde Diplomatique - as it does the art captivate the reader, the shoe from the first lines and plunge into frames where breathless intrigue after another, full of passion, humor, cruelty and eroticism. " Next to it is the career of an intellectual engaged in politics of the Nobel Prize 2010. Until the late Seventy and as a member of "a generation of talented young writers - Gabriel Garcia Marquez, Julio Cortázar, Carlos Fuentes ... all left," as recalled Ramonet obstinately Vargas Llosa campaigned to the left; best at far left, in support of Latin American guerrillas and their armed struggle. Then, suddenly, he converted to the right, becoming an "ultra-liberal agitator", who recently, for example, "legitimized the invasion of Iraq in 2003 and justified the coup in June 2009 in Honduras" . The closing section of Ramonet is tasty. She defers verbatim remarks made by the Peruvian writer about Louis-Ferdinand Celine. Among other "undesirable people who are nonetheless worthy of extraordinary writers", according to Vargas Llosa, author of Journey to the End of night was "an extraordinary novelist," but also "a repugnant character." The problem remains, however, and the discovery of conclusive Ramonet does not help to solve it. Instead, it raises again the acutely. Found repugnant to us is like when he changed sides, ultimately, it is very easy. What is difficult is to understand that by this change, it is becoming a mirror revealing. Ce qui est difficile, c'est d'admettre qu'on aurait déjà dû le trouver répugnant quand il était carrément comme nous-mêmes, quand il était des nôtres et professait les mêmes idées que nous. Ce qui est difficile, c'est de se trouver, en lui, répugnant.
"[...] anche lui «scenderà» in politica e la sua non sarà un «ingresso» ma una «discesa»": così a p. 16 di un librino ancora caldo di tipografia, dal titolo Sulla lingua del tempo presente , preso al volo dagli scaffali d'una libreria di aeroporto (ohibò!) sul farsi del giorno e prima che Apollonio si rendesse conto, ad apertura del quotidiano che teneva sotto the arm, that it had already reported promptly to appropriate laudatory review. 
