(THIS ARTICLE IS MACHINE TRANSLATED by Google from Norwegian)
In 1966, Pier Paolo Pasolini premiered an interview with one film critic. He writes to the critic, but the conversation never goes away. Pasolini put the text aside. He himself goes away in 1975. The friend and author Enzo Siciliano finds the text, works with him and publishes it as a long poem.
The poem revolves around politics, art, love, death – and the mountains. It opens with the establishment of its own – "I am one" – before it introduces them around: the father, brother Guido and the mother. The family members are presented one by one, before the brother is killed, the father imprisoned and the mother driven to flight with Pier Paolo. Pasolini portrays a life so strong that it gives him stomach ulcers. He still managed to create, love, experience, collaborate. Even with those questions, Pasolini is in conversation: with his father, brother, film critic who never shows up.
Everything around. I meet The poet's ashes out of context and expecting an autonomous work. It is framed by perms, colophon pages, covers in perforated gray, like wicker, as a raster filter from before my lifetime. I meet the book as an unknown; I have not seen as much as a movie the Italian has made.
The first meeting with Pasolini is an entertaining party, filled with strong personalities. But I feel like an outsider at this party, as if everyone else knows each other, I don't touch. The "you" or "you" that Pasolini writes about is not part of: "Maybe you saw my movie at the New York Film Festival a few years ago?" / "[...] as you, dear film critic, know then very well ”. So I distanced myself. Or stay at a distance. But then I am suddenly pulled in, into intimate paychecks. The author is kind of cold at first, then hot. It feels like a game, a shoe game; as something as er close and intimate, yet spoken from a distance, as from a scene or screen. But then this is a text that was supposed to be read aloud for a special publicity. I need this for the afterword to understand. And then I also understand more of my experience of the poem.
Rationale and intuition. Reflects Camilla Chams opens her afterword with a quote from Love losses by Steinar Opstad: In ashes the poems should be written, it is in a poem, from a landscape of plains with wild animals and grazing herbs. Alongside the direct connections between Opstad's poem and the landscape from Pasolini's childhood, I find connections between Opstads and Pasolini's poetry vision. For the radio show Dictaphone Opstad mentions some of what he calls a poem, which I understand as the poem must have a contrarian quality. If only in the language; have a contradiction in themselves, have opposing forces. Chams write in the afterword to The poet's ashes: “By mixing poetry with prose, Pasolini is trying to create a new and revolutionary language with this long poem. That means that there are two contradictory forces at all times that pull the poem in each direction. ”In the essay“ Ambiguity, ”Pasolini nevertheless writes that the contradictions in the ambiguous poetic work make it impossible for it to be one. "Unity," Pasolini writes, "is irrational, decadent, and bourgeois." rational.
It intuitive its arena is another of Steinar Opstad's portrayals of poetry. IN The poet's ashes depicts Pasolini poetry (between others) as follows: The language of the action, life as it unfolds, / is so infinitely more fascinating!
The author is cold at first, then hot. It feels like a game, a shoe game; like something that is close and intimate, yet spoken from a distance.
Action in language. Jon Fosse sat once reading Edda and came to the conclusion that the text, usually called poems, is drama. "It's most of all a conversation between gods," Fosse found out, rewriting the text. For Fosse, one is a writer. But the essence of the drama edition is the same – the fable is itself.
Fosse was one of those who tried to teach me how to write drama. The rule of thumb is that the playwright's language must act. In dialogue, this was the way to go about it. Tinga people say to each other need to change the dynamics a bit; a little too much to do. Not simple, but understandable. But then there is this genre monolog. The monologue's action should also be in the language. The drama can be in contradictions in the person. In paradox and inner tensions. Not quite unlike Opstad's comment about what makes poems good. And with that, one is back to Fosse, who usually quotes Federico García Lorca, who said something like theater is "poetry performed standing". And we're back to Pasolini, best known as a filmmaker. But among many counted as a still better poet. The poet's ashes reminds the reader that Pasolini also wrote screenplays for record players: not because he mentions screenplays and films, but basically says form.
Contradictions. The poet's ashes is a text that, almost without dramaturgical hands-on, will work performed by a shoe player. He wants to both create meaning and create excitement even without directing. Pasolini wanted to revolutionize the lyric, to mix poetry and prose, something he meant to the Allen Ginsberg master. Chams claim that Pasolini is capable of this The poet's ashes. My own opinion is that, in addition to creating the symbiosis of poetry and prose, he develops a type of monologue. Towards the end of this interplay of rapture and dueling, poetic strokes and more referential text, the monologue enters into a conversation – a chamber game where realistic and mythical characters interact: Elektra, sisters and fathers, and shoe games that evolve in rather incestuous directions. . The action at the end is not new. It is not better known from mythology, but also from the beginning The poet's ashes. Wasn't it all about a fight about the love of the mother, the sisters, the longing for a pregnant father? This is how The poet's ashes both affirmation and preservation, and even more so a text of inner contradictions and contrasts: Electra's regression, / the daughter who loved her father the King, and now himself is a fascist / as one becomes a fascist in deep despair over erroneous origins.
