Chillin’ in the Compagna

November 26, 2017

Overpeck 3 Goethe B

I was feeling pretty cultural this past week, so I tried to channel Goethe.

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More pinhole scenes:  one at Piermont, NY, and one on the Teaneck town green, with two exposures of me ghosting in there.

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The Trains Did Not Run On Time

May 18, 2015

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I would describe my reaction to reading Mussolini:  A Biography, by Denis Mack Smith with two words:  shock and astonishment.  How could a treatment of the political life (the author describes it as a “political” biography of Benito Mussolini) evoke such reactions?  I mean, he’s been dead and documented for seventy years, right?  Well, I never knew much about him or his reign, mostly because Hitler and the Nazis attract so much more attention and treatment in the media, but his story is indeed incredible.

I came to this book after reading Mack Smith’s biography of Cavour, and parts of his history of modern Italian politics, as preparation for visiting Turin and the Piedmont region.  Cavour was the first prime minister of the newly united Italian state and was a count in the Piedmont region which dominated the new nation, and from which its constitutional monarch, Victor Emmanuel, came.  Some readers of the biography of Mussolini complain that it lacks in-depth analysis of its subject, or the historical context, and this is true:  at times it reads like a chronicle of choices made and statements uttered, and there is some significant repetition in his evaluation of these, but the simple chronology and recounting of events is itself so outlandish that it has tremendous value, I think.

Reading this biography, I have to doubt that I even understand something I thought was very clear:  What is fascism?  Or what was it?  Certainly it has taken on a life of it’s own, down to the recent history of Chile and Argentina, to mention a few states, but when Mussolini invented it, coined its name, created its symbols, it was, as this book shows, simply a vehicle for him to gain power.  Hitler, monstrous as he was, had a program that extended beyond himself:  he saw a 1000 year Reich based on his hellish principles.  Mussolini simply juggled about 100 balls at once, keeping them all in the air, so he could continue to rule – that was Fascism for him.

The incredibly detailed and notated biography reveals that Mussolini’s rule was based on several basic principles:

  • Use violence to extort, intimidate, and sow chaos among enemies and neutral parties.  Use it without stint, and keep an eye out for the opportunity to extract advantage.  He did not deny his penchant for violence, he celebrated it as a central principle of fascism.
  • Control the news completely:  Mussolini started his political life as a journalist and newspaper operator, and to a great extent, his reign resembled that of a ruthless media tycoon who also happened to control an army of violent thugs willing to do his bidding.
  • Divide and rule without reserve:  Eventually, the Fascist party Mussolini himself created became a potential threat to his own power.  He had no compunction at setting its members against one another to keep it as weak as he needed it.
  • Abandon consistency:  Perhaps this is the most truly astonishing part of Mussolini’s rule.  The freedom with which he would contradict himself, often within a day, was incredible.  He started as a revolutionary socialist, then he advocated corporate industrial control of society, later he went back to the socialist stance.  It all depended on who he was trying to outmaneuver at the time, and since he controlled all the press, each contradictory expression would be reconciled with his other statements by judicious “erasures” within the archives.

With complete control of the press, comes the freedom to create the big lie.  Italy has the greatest army in Europe, ten million men at arms (his generals knew that it had barely 1/10th that number), a major military defeat is trumpeted as a great victory, the train system is proclaimed the best in the industrialized world, running 100% on time (journalists from abroad noted, before they were ejected from the country for saying it, that the system was a shambles.)

His government was totally centralized in his own person, and he became increasingly remote from reality, surrounded by sycophants who posed no threat, and who were totally incompetent in their posts.  Mussolini seems to have actively sought dullards and incompetents to appoint to positions of nominal power, but he rarely listened to them anyway.  Many times he delivered himself of incorrect opinions on matters of economics or military import and refused to be corrected – that would diminish his prestige – even to the point of accepting awful terms in the negotiation of foreign treaties rather than backtrack.  It was rule by an egomaniac “play-actor” backed up by vicious criminal gangs who made out while the gettin’ was good.

How did this gimcrack, ramshackle, jerry-rigged chaos come to run a modern state?  The author’s explanation seems to be that two principle factors were at play in the post-WWI era that was threatening to many established regimes:  Mussolini was some kind of a political genius; the liberal political establishment let him take power.  He was brilliant at picking the right moment to act, ruthless in employing lies and violence, totally without scruple, principle, or consistency, other than in his drive for power, and he knew how to inspire loyalty.  He was a demagogue, in other words.  And the liberal bourgeois establishment, which could have destroyed him easily at many critical moments in his rise to power, feared him less than the communists, a familiar story.  Like Hitler, he too was voted into power, a fact which annoyed him greatly as he felt it was more proper for a fascist leader to seize power with violence.  But he was willing to live with that…  Even when Mussolini was still only member of parliament and was personally implicated in a murder of a prominent opponent, the dominant establishment parties dealt lightly with him.  They sat and listened as he insulted and harangued them in speeches, even as his party members instigated fights on the parliament floor.  They were utterly exhausted as a political class, and this was both a cause, and a rallying cry of the Fascist ascendancy.

Needless to say, once he was in power, the industrial interests were happy to connive with him in his program, confident that his outlandish plans for the economy would never be implemented, the case with most of his pronunciamentos.  As Mack Smith frequently notes, the actual effect of his proposals and pronouncements was not so important;  to keep those balls flying in the air, the appearance was all that mattered.

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False-Front Fad

May 18, 2013

In architecture, the Renaissance was a bit of a fad.  Suddenly, the Gothic style represented barbarity and uncouth, crude, and deficient aesthetics.  Later on, John Ruskin would disagree, and deplore the wholesale abandonment of medieval styles and craftsmanship in favor of the reigning form of the classical temple front.

The changes in church facades show the faddish aspect of the Humanist wave in all its glory.

Here’s a church front in Padua:  simple brick, with the shape of a standard Roman Basilica – high central aisle with two lower sides aisles.

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Here is a huge church in Venice with roughly the same form, but some gothic ornament added.

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The Renaissance came, found facades of brick, and like Augustus and Rome, left them of marble.  Pagan temple facades abound, covering the brickwork of the Christian temples.  Architects worked for generations on novel combinations of columns, pediments, hiding the form of the basilica or reflecting it in the shape of the facade.  This example pretty much masks the side aisles with a nearly square front.

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Eventually the thrill of imitating the ancients began to wear thin, and architects went in search of new excitement, including dynamic Baroque styling, and little ‘jokes’ that their sophisticated patrons would enjoy.  Notice the pediment over the main front door that is broken into three pieces, something that would have made Palladio vomit.

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Ground-Truth

May 18, 2013

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Bellagio is a beautiful place, set on a promontory between two arms of Lake Como, the Swiss Alps in the distance, lush vegetation all around, mild climate…no wonder Stendhal, Manzoni, and Virgil, to name a few, loved it.

Searching for the location of our hotel, after booking it online months ago, I saw this image on GoogleMaps.  A villa with a front lawn extending the width of the town?
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Last week, I found myself there, walking that grassy avenue, the Vialone.  It was built by the owner of Villa Giulia, visible on the right, with formal gardens at the lakeside, so that he could have an unimpeded view of both arms of Lake Como.  It’s always a bit strange to find oneself walking terrain that one has previously only known from a map or aerial view.  Was someone watching me from above?

The Vialone terminates in a flight of steps down to the lake on the western side.
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Walking the Vialone in the direction of Villa Guilia, facing east.
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Rabbit Iconography

May 17, 2013

Poor wabbit!

I noticed this image on the porch of San Zeno in Verona, a splendid Romanesque church.  Rabbits have a curious set of associations in our culture, don’t they?

  • Cute and cuddly
  • Pesky and destructive
  • Fertile, too fertile
  • Innocent
  • Malign

Not sure what the Christian symbolism behind a rabbit being preyed upon is – I noted it on another facade in Venice, I believe.  One source implied that it alludes to the struggle of the human soul to elude Satan, but it is also true that rabbits sometimes represent souls in thrall to Satan.  There’s one in the lower portion of this detail from Bosch’s vision of Hell.


The Moro ‘Affair’

April 25, 2012

The Moro Affair seems like an oddly lighthearted name for a book about the kidnapping of a prime minister that ended in his murder. I was dimly aware of these events when they happened in the late 1970s, but my knowledge of the violent fringe group, The Red Brigades, was limited to newspaper headlines, Anarchy Comics, and various hipster cultural references of the time.  Leonardo Sciasica’s examination of the case is weird, confusing, and not all that illuminating, adjectives that are frequently applied to the case and other tortured explanations of it.

Moro was at the helm of the Italian government when the Christian Democrats made historic overtures to the communists to form a stable government.  Kissinger was not happy.  Moro was on record as being in favor of swapping prisoners to save lives when confronted by terrorists:  Why did his own party refuse to save his life?  Was he sacrificed?  For what, by whom?  Was there CIA involvement?  Were the Italian police bureaus severely disorganized and incompetent, or were darker forces at work?


Waste, Italian Style

February 20, 2012

Gomorrah (2008), a film by Matteo Garrone, is based on a journalistic account of crime families in the Naples region of Italy, by Roberto Saviano, who is certainly a very brave man, and whom Berlusconi denounced as unpatriotic.  It follows five stories of people whose lives, as are all lives in the region…in Italy? are touched by the mob:  two stupid young kids who dream of big time success as mobsters, and fancy themselves the new Scarfaces of Naples; a master tailor working in the illegal knock-off industry that produces counterfeit haute couture gowns; a young kid who wants to find his future with the local gang while a turf war rages; a mousey accountant who handles payouts and who finds himself in the middle of the same war and wants no part of it;  and a young college graduate who gets a job in the waste disposal business.

The film uses non-professional actors and is produced in a neo-realist, or vérité style:  it is profoundly disturbing.  I suggest it as a pendant to Mafioso for those in thrall to the Coppola-Scorsese melodrama view of the mafia.  Scorsese ‘presents’ this film, and I’m sure he thinks Goodfellas is similarly hard hitting, but in Gomorrah, an MTV soundtrack is notably absent.  For those with a special interest in waste, American or Italian style, this film is informative.  The northern industries send their toxic waste to the south, where it poisons the land.  The managers look the other way, assured that the disposal is clean,as the Americans say.  The price is irresistible.

The action takes place mostly in a neighborhood with architecture that looks like something out of the futurist dreams of Antonio St. Elia.