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The reason he stares at you may be which he has a controling identity. If the guy do then it might possibly be probably which he would look at others besides. It would additionally be most likely he would program additional signs of becoming dominant in his gestures performing items like:. He explains: Three things made solitary sex unnatural. Second, while all other sex was social, masturbation was private […]. Sex was naturally done with someone; solitary sex was not.

And third, unlike other appetites, the urge to masturbate could be neither sated nor moderated. Every man, woman, and child suddenly seemed to have access to the boundless excesses of gratification that had once been the privilege of Roman emperors. The narrator describes stamp collectors as follows: Se uno ha cento francobolli vorrebbe averne mille, se ne ha mille vorrebbe averne centomila. The collection, then, is defined by its tendency towards infinity. Though a collector could never possess infinite stamps—or even all extant stamps—his desire must be articulated in a formula that is asymptotic.

Closer consideration might suggest that such a shift also necessitates a redefinition of autarchy, since initially the autarchy of masturbation rests in its depletion of a limited supply of sperm, and then it rests in the isolation resulting from its boundlessness.

The shift from physical to psychic thus involves a transformed concept of autarchy—first characterized by an economy in which there is limited reservoir, then by the isolation that results from infinite stock. The section continues: Ti si libro addosso la irridente, nuda in infernica levitazione; il fiore della fregna. Sperm is figured as a limited resource, its sacrifice as a kind of torture. Although the passage is not explicitly concerned with solitary sex, it does suggest an autarchic model of the male body, like that which informs early condemnations of masturbation.

The novella relates episodes of an intense sexual relationship beginning in early adolescence between the narrator and Simone. And as for the wine they put in the chalice, the ecclesiastics say it is the blood of Christ, but they are obviously mistaken. If they really thought it was the blood, they would use red wine, but since they employ only white wine, they are showing that at the bottom of their hearts they are quite aware that it is urine.

For Sir Edmund, the wafer and wine maintain an indexical relation to the body of Christ, though rather than embody his flesh and blood they embody his sperm and urine. For Manganelli, on the other hand, the apparatus is figurative: it is not a narrative about the Eucharist, but a metaphoric economy that elaborates a relationship between the betrayed man and his lover. Instead, the text produces a dizzying mass of auto-annotation, repeatedly frustrated textual trajectories, aborted exegesis, diverted glosses and other non-sequiturs that render its itineraries—as well as the Hades it sometimes describes—exasperating to map.

Hilarotragoedia satyropastoralis by a Bolognese Jesuit named Mario Bettini. The play was produced in Italian in Piacenza in and published in in Latin Reprinted in Bricchi These three parts, Bricchi maintains, are made up of twenty-nine sections, twenty-five of which bear titles , which range in length from one sentence to twelve pages. Of these twenty- nine sections, Bricchi designates only four as narrative excursuses, in part because their titles suggest narrative genres: testimonianza, aneddoto, storia and documentazione.

Most of the other titled sections are called postulates, glosses, hypotheses, introductions, notes, inserts and treatments; though several elude such generic labels. Notwithstanding these autobiographical themes, the text is more explicit in its concern with the journey to and topography of the underworld. The representation of Hades, however, is also discontinuous, as the following, more detailed summary of the treatise will demonstrate.

Another section, the Storia del non nato consists of a brief autobiographical fragment related by a never-born narrator. As this brief introduction to the text suggests, the subject of Hilarotragoedia is radically unconventional and largely inaccessible. Despite the intermittent concern with Hades, I find in the treatise a more pronounced and personal descent that is no less ubiquitous though it may be more stealthily encoded.

Rather than babies, Hilarotragoedia produces withered fetuses and wasted sperm. Disimpegno, or Hilarotragoedia in Context Despite—or perhaps because of—this illegibility, Hilarotragoedia was immediately considered a critical contribution to the burgeoning neoavanguardia.

For Manganelli, letteratura becomes a gesto sociale through its relationship with a pubblico with distinct historico-cultural coordinates. The antisociality of writing—its lack of impegno—then, rests in its timelessness and resultant inaccessibility—illegibility, even—to readers.

That is, for Moravia the text is illegible because of a barrier between the reader and writer; for Manganelli, similarly, a text is unengaged because it refuses to address a contemporary reader. In these two related dichotomies—that of legibility and illegibility and that of engagement and lack thereof—Manganelli understands the concepts he rejects—legibility and engagement—as communicating with a contemporary reader. The terms he associates with his own writing—illegibility and lack of engagement—on the other hand, are characterized by the solitary act of writing and its suspension or complication of reproduction.

As we have seen, because of its association with the discourse of modern masturbation, the third term, menzogna, similarly suggests a literary style and semiotics rooted in an isolated body. Numerous recent titles attest to the extent of this inextricability. Furthermore, the ornate rhetoric Manganelli produces thematizes sexual fantasy as literature is figured as a series of duplicitous whores who become indistinguishable from their rhetorical construction.

This suspension of a textual reality and its representation characterizes menzogna, and suggests the stakes of the corporeal aesthetic integral to Hilarotragoedia. The tension between mimesis and menzogna takes on ulterior significance when we return to the biographical anecdote with which the present chapter begins. As such, in embracing a sort of mimetic reality and cultural mother, he forges a bond between Gadda and another literary father: his literary lineage is inscribed in a rejection of that lineage.

Laplanche and J. Between his repeated celebration of menzogna and the anecdote above, Manganelli destabilizes the dichotomous relationship between menzogna and mimesis. Deliziosa lite con le proprie entragne. Altri, liberale e umanista, volle e vuole rieducarla. Periodicamente, taluno sogna un definitivo Ottimo Pastore, un Regno ove addottrinati gentiluomini con voce nasale educheranno la letteratura a nobili missioni.

Ma essa, cortigiana di vocazione, rifiuta di farsi moglie virtuosa, onesta e schietta compagna. Vanamente la insidiano a farsi educatrice di figli sani ed eterosessuali, consorte indaffarata ed elegante. Forse la odio. Though the answer may not be found in this passage, the question itself points to a fundamental tension in the metaphor: while literature becomes one entity, a woman—sculpted, albeit by the diverse Pygmalion-like men she encounters, the grandi scrittori and others less great presumably work with particular texts— each of which is also, abstractly, literature, and thus woman.

Manganelli characterizes literature as follows: Corrotta, sa fingersi pietosa; splendidamente deforme, impone la coerenza sadica della sintassi; irreale, ci offre finte e inconsumabili epifanie illusionistiche. Priva di sentimenti, li usa tutti. Quando getta via la propria anima trova il proprio destino. Though the celebration of menzogna in these two examples may vary considerably, it is, in each case, bound to an epistemological paradigm in which truth and invention are inseparable from a gendered body.

Her body, because it is mutilated and made metaphor, thus becomes unavailable to the speaking subject. Along with and partly because of these substitutions, the passage is characterized by a remarkable ambivalence towards metaphor. Contradictions thus emerge on two levels: on the one hand, Manganelli both uses and rejects metaphor.

On the other hand, through metaphor, he links the concepts he sets out to oppose. He first proposes that the very bodies of certain animals compose a language: Vi sono animali capzioso pelame, sui cui volti aguzzi e astratti deretani splende un dizionario di miniate immagini.

For animals, the body itself forms a complex language. Language—and accordingly literature—in this layered metaphor, is inherent to man and inextricable from him. At the same time, however, it is an inexact and irritating sheath. What is critical, then, is that the metaphor represents a concomitant denial and asseveration of the inextricability of language and man and that the two terms are distinguished only insofar as the former is made female.

In this sentence, the ailing world and the rhetoric that aggravates it are rendered indistinguishable through the folds of metaphor. Take, for example, the pussing wound that swells in metaphor: if the pussing wound is the vehicle of a metaphor whose tenor is some ill of the world, then the swelling would suggest some worsening of the situation.

But its swelling in metaphor confounds the vehicle and tenor. The reader is left uncertain whether a massacre is nothing but a hyperbole, or whether it becomes nothing but hyperbole in literature. That is, by suspending metaphors midway through the regularly requisite transport, Manganelli renders indistinguishable the literal from figural. Such a signifying practice corresponds to modern masturbation insofar as, like the discourse Laqueur isolates, which figures solitary sex in terms of its boundless imagination, it is characterized by endless oscillation between tenor and vehicle or by the utter destabilization of tenor and vehicle, so that there is no apparent referent.

In the appunto critico, Manganelli reveals a critical ambivalence toward metaphor by both denying and deploying figurative language. The suspension of a textual reality and its representation achieved by such metaphors, and by the critical attitude towards them demonstrated in the appunto critico are integral to the corporeal aesthetic of Hilarotragoedia.

Specifying that man is stirred by a non-human force, by desire or love or occult intention, which seeps into his muscles and nerves, Manganelli designates the descendent nature of man a corporeal—indeed, phallic—matter. As such, the text problematizes the metaphor with which it opens. The postulate, we might say, works as metaphor insofar as it compares man to an oviparous animal.

More generally or anthropocentrically , however, if we note that detumescence is hardly unrelated to the fertilization of an egg, the axiom represents something more like metonymy masquerading as metaphor. That is, likening the rule of detumescence to an embryo is not, as Aristotle would have it, the transport of an extraneous noun, but something more like a reconfiguration of the logics that binds the two terms—an exploration into alternative reproductive practices, perhaps.

At issue in the lesson, however, is not just the nature of levitazione discenditiva, but a pressing, repetitive desire to write clearly about it. In this passage, then, the question of levitazione discenditiva—and of representing and understanding it—is addressed through an indexical relation to a male body. Sfiorare quei due punti oggettivamente viziosi equivale a commettere atti impuri, adulterio, incesto. Concluding the treatise with so licentious a symbol, the text sets out a prohibition that it forces the reader to transgress, thus incorporating him into a shared, transgressive insofar as incestuous erotic experience.

Sii fedele alla tua discesa, homo. With the address, Manganelli introduces a term quite likely unfamiliar to most readers: litopedio, or lithopedion. A lithopedion is a calcified fetus, or stone litho baby pedion. The extremely rare petrification is produced when a fetus dies during an ectopic pregnancy and is calcified, rather than reabsorbed by the body.

In addition to representing both a fascinating medical phenomenon and one of numerous alternatives to generation in the text, the lithopedion belongs to the vast symbolic economy of the Medusa, most basically because it is a petrification of a human being. Furthermore, the lithopedion is petrified by a female—or, at least pregnant, figure, who is, in this case, the male narrating voice. Indeed, if the lithopedia-producing writer seems ill-suited to such a Gorgonic guise, it is because the petrified victim is thus unable to gaze upon it.

This gaze, then, like that which Manganelli urges his reader to take, produces a horrific encounter with difference—one that leads, in Hilarotragoedia, to a Medusan petrification: the conversevole litopedio. Indeed, by donating his library, manuscripts, correspondence and diaries to the Fondo manoscritti in Pavia, Manganelli authorizes and encourages such connections. Lo considero come un mio organo e debbo anche dire che come un feto dispettoso, ha riluttato alla pubblicazione. Of course, this is precisely what the draft does with the very act of naming the specific agents of critique.

For the non nato, then, subjectivity is defined in terms of patria. Like the jacket note of Hilarotragoedia, which asserts that the treatise follows a bipartite structure, the Aneddoto begins with an incipit that describes the stakes of the anecdote, presenting the gravitas of the macula radiosa.

The body of which the narrator finds himself in possession— one that makes him similar to his worldly fellow brothers—is thus defined in terms of the sense of solidarity between men that it both signifies and creates.

The final section of the novel, in which the Signora is found moribund after a violent attack, however, was not included in the serialized version or the version, but was first published in the English translation by Weaver, then in Italian only in Hilarotragoedia was published in ; but dates on the manuscripts in Pavia verify that it was first drafted between December 13, and January 19, See Bricchi, Manganelli e la menzogna and the manuscripts at the Fondo manoscritti in Pavia.

Le mie ore sono sempre state declinate secondo leggi di una vessatoria e privilegiata morfologia. An Essay on Abjection. Le urlo di non muoversi; la vecchia matta non si ferma! Le sono addosso, la butto da parte, mia madre cade a terra! La miserrima vecchia! Io sento le sue ossa che scricchiolano In the economy of the Aneddoto, then, the intrusion of the mother forces the narrator to grapple with his own similarity and dissimilarity to woman.

Hatred, or more specifically, a perception of sexual difference, becomes the basis of language itself. Through the particular combination of signifying practices that emerges from these texts Manganelli forges an autarchic model of both literature and male subjectivity. Such autarchies prove to be structured by their own impossibility, insofar as they are built on an insistence upon a corporeality and upon a series of misogynist topoi that themselves forge an intertext that collapses the dichotomies of legibility and illegibility, engagement and disengagement, and mimesis and menzogna.

Indeed, as we have seen, the impegno forged by Hilarotragoedia and other writings is rooted in a sense of solidarity between men sharing in the frustration of their bodies, especially the impossibility of parthenogenesis and what is figured as the irrational tedium of levitazione discenditiva. In a style vastly different from that of Manganelli, Malerba sets out a similar ambivalence toward figuration.

And as in the appunto critico above, this ambivalence frequently manifests itself in the act of imagining words, images, or ideas as things. I argue, furthermore, that with its introductory chapter set during the invasion of Ethiopia, Il serpente gestures toward an ideo-logic that links collecting to fascist imperialism by isolating structural similarities between autarchy and hoarding, and between expansionism and acquiring.

Oil on Canvas. Los Angeles County Museum of Art. Figure 3. At the same time, the drawing affirms such distinctions, since the attempt to trace the smoke is presented only in its futility. The sketch thus makes a claim not of realism but of an indexical relationship to reality. That is, rather than represent reality faithfully by adding smoke to the sketch, Malerba leaves out the untraceable substance and proposes instead a deictic aesthetic in which the picture points to reality by bearing its traces.

To summarize, the sketch contains three primary signifying elements: the outline of the pipe, the words written within the bowl, and the inscription that runs along the stem. Each element problematizes the others, so that the image outlines a complex and inconsistent signifying system. Words, images and things, in the profilo, point to each other but never arrive at semiotic or aesthetic consensus.

Foucault imagines a classroom scene around this second painting, which I quote at length because of its momentous outcome, and because it is particularly amusing: Everything is solidly anchored within a pedagogic space. The baffled master lowers his extended pointer, turns his back to the board, regards the uproarious students, and does not realize that they laugh so loudly because above the blackboard and his stammered denials, a vapor has just risen, little by little, taking shape and now creating, precisely and without doubt, a pipe.

Oil on canvas. Private collection. Foucault writes: What is impossible is not the propinquity of the things listed, but the very site on which their propinquity would be possible. Where else could they be juxtaposed except in the non-place of language? But no sooner have they been adumbrated than all these groupings dissolve again, for the field of identity that sustains them, however limited they may be, is still too wide not to be unstable; and so the sick mind continues to infinity, creating groups then dispersing them again, heaping up diverse similarities, destroying those that seem clearest, splitting up things that are identical, superimposing different criteria, frenziedly beginning all over again, becoming more and more disturbed, and teetering finally on the brink of anxiety.

But the two examples share a more specific structure that suggests not so much an incongruity arising from the broader concepts—i. First, each possession seems unique, and thus irreplaceable. As such, the hoarder is generally unwilling to discard the object. Second, and again resulting from a perception of the uniqueness of each possession, the hoarder is unable to part with a category of objects—such as old newspapers—before carefully examining each one.

Finally, because the hoarder is unable to categorize his possessions, he is unable to organize or arrange them. This third consequence of underinclusion bears critical implications for narrative theory because of the way in which it results in a reordering of space along temporal, rather than thematic lines. The hoarder begins to read a book but must stop to do something else.

The book cannot be returned to the shelf because it is now in a different category—books being actively read. It is placed on the coffee table. Next, a cookbook is consulted for dinner and it too cannot be returned to the shelf because it is being used. It is deposited on the back of the couch. The dictionary used next cannot be reshelved, lest the person forget the word he looked up.

This process is repeated until there are books everywhere, none of which can be returned to its shelf because they are all different in their own category. Their new position in the room has meaning because each position represents a different category, and an idiosyncratic sort of organization exists, but the ultimate result is clutter and chaos. The finite amount of space available means that possessions must be piled on top of one another until there are large mounds of unrelated objects.

From this chaos, a sort of temporal organization emerges. The hoarder may have a sense of where things are placed based on when they entered the pile. With each new attempt to organize and discard, everything in the pile is examined and moved to the new pile or repositioned in the old pile. The temporal organization; however, is both subjective and unstable: things are arranged not according to their date of manufacture or of acquisition, but according to their most recent contact with the hoarder.

The information-processing deficit of the contemporary hoarder is one that has long preoccupied collectors. You see patterns. And in the very recent torrent of documentary films and reality television 2 See R. Frost, G. Steketee, D.

Tolin, and S. This entrance, for Benjamin, brings a new attention to the interior spaces of the private dwelling: For the private individual, the place of dwelling is for the first time opposed to the place of work. The former constitutes itself as the interior. Its complement is the office. The private individual, who in the office has to deal with reality, needs the domestic interior to sustain him in his illusions. This necessity is all the more pressing since he has no intention of allowing his commercial considerations to impinge on social ones.

In the formation of his private environment, both are kept out. From this arise the phantasmagorias of the interior—which, for the private man, represents the universe. In the interior, he brings together the far away and the long ago. His living room is a box in the theater of the world. In Stuff: Compulsive Hoarding and the Meaning of Things , Frost and Steketee note a critical tradition that considers collecting a means to manage fears about death by creating a form of immortality.

They go on to note, however, that Debra has no specific plan or evident interest in what will become of her possessions after her death, and thus conclude that TMT is not germane to the case. Their abandonment of this line of reflection suggests, perhaps, the limits of their discipline: what may be obvious to a literary scholar versed in psychoanalytic theory—i. The authors of Stuff thus forgo the terror management theory where they see no conscious concern with posterity.

Yes, the clutter. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them.

This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress. Klee, Angelus Novus. India ink, colored chalk, and brown wash on paper. Silvia looks up at her self-portrait. Figure 8. Close-up of the self-portrait. In our dreamworld, is not China precisely this privileged site of space?

In our traditional imagery, the Chinese culture is the most meticulous, the most rigidly ordered, the one most deaf to temporal events, most attached to the pure delineation of space; we think of it as a civilization of dikes and dams beneath the eternal space of the sky; we see it, spread and frozen, over the entire surface of a continent surrounded by walls.

Even its writing does not reproduce the fugitive flight of the voice in horizontal lines; it erects the motionless and still-recognizable images of things themselves in vertical columns. So much so that the Chinese encyclopaedia quoted by Borges, and the taxonomy it proposes, lead to a kind of thought without space, to words and categories that lack all life and place, but are rooted in a ceremonial space, overburdened with complex figures, with tangled paths, strange places and unexpected communications.

There would appear to be, then, at the other extremity of the earth we inhabit, a culture entirely devoted to the ordering of space, but one that does not distribute the multiplicity of existing things into any of the categories that make it possible for us to name, speak, and think. Because neither Borges—nor Malerba, as we shall see, aims to achieve knowledge about the Orient, but rather to use China as a backdrop, a repository for their playful machinations, they are better matched to the former category.

Though the result may arguably be similar, the distinction is worthy of note. This figuration of China is critical to understanding texts by Malerba, in part because it analogous to his repeated discussions of both literature and dreams as parallel realities—sites of space in which to problematize the relationship between words and things. The logic suggests that if the integrity of referentiality remains protected in dreams, then reality is as it seems. What emerges from the Diario and the related writings is something like a philosophy of signification without semiology, in which objects are unmediated by signs.

What emerges, then, is a tautological mode of signification based upon the immediacy of objects. While for Vico, then, signification through atti, cenni and corpi is the most primitive; for Malerba such a signifying practice counters primitive modes of signification, which would involve the symbolic interpretation of atti, cenni and corpi.

On the other hand, the analogy suggests that it is in the interpretive work of the reader that the art of the Diario rests. According to this formulation, it is not the narrators who are deceitful. Rather, falsehoods derive from attempts to understand texts in relation to reality. In literature, as in dreams, Malerba imagines a sort of absolute referentiality that is tenable only in the shadow of a colossal barricade that isolates the parallel realities.

The resulting isolation and self-sufficiency of literature and dreams—as well as China—parallels the understanding of autarchy that develops from my reading of Il serpente. A crime novel without a crime, told by a narrator who repudiates his narrative, the text undoes itself on the level of plot, like not coincidentally a serpent swallowing its own tail. The narrator of Il serpente is an unnamed thirty-three year-old stamp dealer with a shop on via Arenula in Rome.

The narrator joins an amateur choir where he meets a young woman whom he names Miriam, who quickly becomes his lover. Increasingly jealous, he brings his reluctant girlfriend to the well-known radiologist, Occhiodoro, hoping that the specialist will be able to use x-rays to detect traces of infidelity. When Miriam leaves him after being subjected to the medical molestation, the narrator uses telepathy to lure her back to his shop, where he poisons and cannibalizes her.

With Miriam dead and devoured, the narrator continues to suspect Baldasseroni—now of working for an international, stamp-related crime ring. In the final pages, the narrator, tormented by the radio and the various media that invade his apartment wishes for silence, darkness, and even death. This investigative role foisted upon the reader may be typical of denarrated texts, which, Richardson proposes, foreground the problem of separating story from discourse Richardson writes: It is the first person form of the denarrated that is generally most prevalent and, I believe, most compelling.

I suspect this is because it invites more possible interpretive positions concerning the subjectivity of the narrator, as the reader wonders whether the narrator is incompetent, disoriented, devious, or insane. Since the entirety of Il serpente—with the possible exception of fourteen italicized passages that separate the chapters—is related from the point of view of the narrator, to try to tease out layers of reality within the fiction would be futile.

These passages occupy a privileged status in the text because they refer to actions performed by characters other than the narrator, but also because of the oblique way in which they engage the evidential paradigm—the epistemological foundation of the giallo. See Peter Brooks, Reading for the Plot In addition, the paradigm functions metonymically. As such, the evidential object shares something with the souvenir; which Susan Stewart understands in On Longing as a metonymic trace of authentic experience.

Also fundamental to her understanding of the collection is the way in which it eradicates context. See Trotter, Paranoid Modernism. But if the paranoiac differs from the detective insofar as reality concurs only with the latter; the hoarder instead departs from the detective insofar as he is unable to construct a single causal narrative sequence from his detailed perceptions. It permitted the exclusion, at the moment of identification, of individuals not corresponding to the data, but not the positive verification that two identical series of data referred to a single individual.

Indeed, with its thematic and structural use of collecting and hoarding, Il serpente proceeds not by creating a single hermeneutic path but by multiplying its interpretive itineraries. But while much of what is added to the narrative of Il serpente is subtracted in the course of the novel, the first chapter remains relatively unbound by the chain of negations that tethers the plot.

The exteriority of the first chapter is underscored by its setting: rather than contemporary Rome, it takes place in Parma during the period of economic autarchy following the invasion of Ethiopia. Notwithstanding the specificity of the setting, neither geographical nor historical context is named; both are conveyed indirectly.

A typewritten draft of the Il serpente, part of the collection at the Fondo manoscritti in Pavia, corroborates this pointed vagueness and the specificity it betrays. In this iteration, autarchy represents a sort of enigmatic signifier for the narrator, a vaguely understood voce in giro that translates, more comprehensibly, into a mandate of moderation in the context of scarcity. And while the excised sentence figures autarchy as a form of restraint, the interpretive trajectories of the chapter are unhinged, expanding ever outwards to take in more and more conceptual material.

This pairing echoes the autarchic split we isolated in the Introduction between scarce raw materials and various froms of boundlessness. With the shorthand depiction of autarchy and imperialism and the expansive interpretive trajectories of the first chapter, Malerba sets out the historical and political stakes of the the thematic and structural collecting and hoarding of the novel.

The analogy forged in Il serpente between imperialism and hoarding is particularly pronounced because the objects collected in the text can be traced to colonial origins. The collection, on the one hand, represents a sort of negation of the evidential paradigm, insofar as all traces of an individuated history are obliterated as the uniform shape and polish of the spheres eliminate signs of the ancient fragments from which they are extracted.

But more importantly, the spheres Baldasseroni most prizes are those made of marble pillaged from Africa. On the one hand, the italicized passages that separate the chapters resemble a collection insofar as they form a sequence of discrete entities that do not participate directly in the narrative development.

Instead, each italicized passage explores a logical paradox or puzzle that engages only obliquely with themes of the novel. In addition, Il serpente detaches objects from their original functions—as happens in a collection—grouping them by a shared quality and thus submitting them to a process of resignification. In the first instance of such a signifying process, diverse yellow objects are grouped together. Grouping together yellow things represents, on the one hand, the idea of collecting, insofar as it detaches them from their use and groups them according to a shared quality.

But the passage also anticipates the taxonomical troubles of the contemporary hoarder; though here categories are not defined too narrowly, but too broadly. The passage above, then, appears to voice a logical fallacy wherein if two objects share one property, their other properties merge. But not all properties merge—only the fact of being Chinese. The contagion of signification, then, is not neutral with regards to the signifier. The essay must be understood in the context of the economic sanctions against Italy imposed just over a month earlier.

The essay concludes with brief discussion of banana importation, storage, and distribution in Italy: E dalla Somalia vengono importante le banane: la S. Un fornello parenne da parere il fuoco delle Vestali. SGF I Likening the rudimentary heating system of the banana warehouse to a hearth watched over by Vestal Virgins, Gadda domesticates the colonial product.

A banana grows as a tassel from the fez of a Somali black head. A black head is formed by, its very shape defined by, the bananas that surround it, constituting nothing less than the entire ethos from which blackness emerges Like Malerba, Gadda, in the two postwar texts, Eros e Priapo and Quer pasticciaccio, also associates bananas with a white body: that of Mussolini.

This, in Gadda, is not a contagion of the colonies, but an expression of ire directed at Mussolini. But if the fascist-era advertising trend was to associate colonial product with colonized people, perhaps a postwar response instead displaces this figuration onto an Italian body. The color yellow is also central to one of the italicized passages that separate the chapters of Il serpente.

As we noted above, given that these passages do not participate directly in the narrative development, but form instead a sort of collection of short riddles, they inherently perform a meditation on the narrative as a faltering giallo.

Like the detective Ginzburg describes, the passage hones in on a piece of marginal data, ignoring the viper and focusing instead on the color of the tulip behind which it hid. With the materassaia dead and the color yellow eluding judgment, the passage illustrates the way in which the logic of hoarding defies the conventional structures of the giallo. The attempt to establish the guilt or innocence of the color yellow forges a sort of mini-giallo about the color giallo.

Because, as Richardson proposes, the denarrated text invites a pathologizing hermeneutic, the reader is compelled to understand this mess symptomatically. Una branda di rete metallica contro il muro, sotto la cassaforte. Nessuna traccia di Miriam, non una fotografia una lettera una calza una giarrettiera, niente.

While mountains of linens and the old newspapers are plural, the absent evidential object is singular. Avevo incominciato anche a mettere ordine negli album dei pezzi rari che tengo confusi agli altri per ingannare i ladri. Mi dicevo. Stai forse facendo un inventario? In the passage above, the narrator begins by counting the stamps in each envelope, and entering them into a notebook according to nationality.

He begins to order the albums with rare stamps, but ultimately resigns himself to the disorder, with envelopes on the floor, and stacks of albums all over. The narrator groups stamps according to nationality and rarity, but also considers the possibility that the cleverest way to store valuable stamps might be to treat them as trifles. The problem is less underinclusion, than an overwhelming indecision with respect to categories.

This indecision recalls the confusion of the sick mind Foucault describes in The Order of Things: But no sooner have they been adumbrated than all these groupings dissolve again, for the field of identity that sustains them, however limited it may be, is still too wide not to be unstable; and so the sick mind continues to infinity, creating groups then dispersing them again, heaping up diverse similarities, destroying those that seem clearest, splitting up things that are identical, superimposing different criteria, frienziedly beginning all over again, becoming more and more disturbed, and teetering finally on the brink of anxiety.

Finally, in his growing disdain for his customers, the narrator of Il serpente further resembles a hoarder because he refuses to actually sell stamps: In quel periodo incominciavo a avere vergogna dei francobolli e quindi anche di me stesso. Trattavo male i clienti. Li prendevo in giro. Lei fa la collezione, fa il collezionista? Domandavo, e quello rispondeva di si. Oppure, se quello mi domandava il prezzo, mezzo chilo di milioni, dicevo. E quello si arrabbiava. In certi case il cliente aveva una pazienza infinita, stava a ascoltare, sorrideva e usciva ringraziandomi lo stesso.

Spesso invece usciva infuriato giurando di non rimettere piede nel mio negozio. Philately, the narrator claims, wards off or dissimulates other vices but can never be a means to achieve happiness. He elaborates: Se uno ha cento francobolli vorrebbe averne mille, se ne ha mille vorrebbe averne centomila. Collecting thus emerges as being based primarily on a desire not to possess all stamps, but rather to possess ever more. The collection, as it is figured above, is defined by its tendency towards infinity.

The passage, then, demonstrates a disavowal of mortality like that of the clinical picture of hoarding I sketched above. A similar expression of disavowal, as well as taxonomic troubles like those that characterize hoarding, emerges from a conversation between Miriam and the narrator about the standards according to which philatelists appraise stamps.

Though age may add to rarity, rarity itself does not add to age—as the San Marino misprint confirms. And yet age and rarity can be equated insofar as time will eventually bring both. As such, distinctions between the two categories are subsumed by an overarching temporal structure.

Qui i palazzi sono grandi e le famiglie producono molte immondizie. And like objects for the collector, which are grouped together and amassed, subjectivity, in Il serpente is constantly threatened by the asymptote. The Chiasmus and the Subject of Fantasy As we have seen, the narrator of Il serpente sets out an asymptotic understanding of collecting that skirmishes with the finitude of a lifespan. Dove vanno?

Che cosa vanno a fare? Indeed, when metals used to make traditional high-heeled shoes became unavailable, Salvatore Ferragamo invented the cork- and wood-based platform shoe Aspesi. He forms no representation of the desired objects but is himself represented as participating in the scene although, in the earliest forms of fantasy, he cannot be assigned any fixed place in it. Indeed, the antimetaboli that pervade the text emphasize the extent to which words can shift about with respect to each other without changing, in any critical way, the meaning of the sentence in question.

In the economy delineated above, narrative develops out of material deprivation and participates in the production of a hierarchy, the gaps of which are bridged with anecdotes. The narrative binds together boys who are grouped on the basis of their shared qualities: poverty and scabs. The narrating ensemble, like the collection, expands ad infinitum, with the position of each poor scabby boy constantly changing with respect to the others.

Kinship structures, for the narrator, are guided by the same asymptotic logic as the chain of scabby, narrating boys. Like a collection, the kinship system imagined by the narrator expands ever outward, destabilizing the discreet relationships of its members. Similarly, the stories the narrator reads in newspapers undermine any fixing of subject positions: Spesso succedeva un altro fatto, che quando io entravo a fare la parte di un uomo, la ragazza o la moglie me la figuravo come Miriam.

The ostensible crime of the would-be giallo—the murder and cannibalization of Miriam—temporarily halts the ever-expanding chain of interchangeable subject positions. Anche in Oceania, in Asia, in America. Though the text devotes considerable attention to ascertaining the extent to which the crime is or is not singular, the unfixed subject position that precludes such singularity is already inscribed in the thematic and structural collecting and hoarding of the text.

Soltanto un Simbolo Fallico? Amidst the rubble of these crumbled bridges, both Malerba and Manganelli, as well as many of their contemporaries, strive to develop forms of representation that traverse the gulf between signifier and signified. In such theoretical courses, objects and bodies come to occupy privileged positions as quixotic sites of unmediated reality. In this context, the thematization of collecting and hoarding in Il serpente represents a sort of reflection on language itself.

But rather than act as mimetic guarantors, the objects of the novel are submitted to an ongoing process of resignification that draws attention to their semantic instability. Similarly, the denarrated text itself, dramatizing its existence only through iteration, gestures toward an insuperable rift between signifier and signified. The risk of such a hermeneutic, Malerba explains, is not trite analysis though presumably that would also result , but rather a sort of castration.

By putting symbols into play, Malerba proposes, the real penis would become a mere phallic symbol. Il protagonista mimics the structure of Il serpente, insofar as its twenty-eight chapters are separated into seven four-chapter sections, which are separated by italicized passages that pose a series of questions about the phallus, intercourse, and art. In addition to these italicized passages, the text is divided in another important way: it is interspersed with footnotes consisting of bawdy quotations—from ancient, modern, and contemporary sources, in Latin, Italian, and regional dialects.

Surfing the radio waves, il Capoccia encounters a young woman named Elisabella, with whom he begins a log distance radio romance. Elisabella comes to Rome from Orvieto to visit il Capoccia, but despite her sexual advances, they do not consummate their relationship, in part because il Protagonista becomes increasingly fascinated by a putrefying giant Norwegian whale on display in Piazza del popolo.

In addition to the giant whale, the protagonist is drawn to the bronze horse buttocks of the equestrian statue of Garibaldi in on the Janiculum hill—though, when he is on the verge of penetration, il Capoccia is shooed away by two guards on horseback. When il Capoccia returns to an empty apartment, he decides to go to Orvieto to find her. In the meantime, Elisabella, devastated that il Capoccia prefers the whale to her, poisons herself.

The description of the necrophilic act reverses the symbolic interpretation Malerba describes elsewhere that would transform everything into a phallic symbol. Instead, the penis itself is invoked by a series of figures: Sono entrato nel suo Giardino Invernale come un ladro entra in una casa abbandonata dove vuole rubare.

Anche come la mummia egiziana. Io invece correvo come un corridore nella Carrera Messicana. The risk of symbolic interpretation, for Malerba, is that it would make even the penis a phallic symbol, and as such, presumably unable to occupy its own thing-in-itselfiness. The passage above reverses the vehicle and tenor of the symbolic interpretation Malerba describes: in symbolic interpretation, the penis is the vehicle; the cigar is the tenor; while in the passage above, the burglar is the vehicle and the penis is the tenor.

The question is one to which Il protagonista—like this dissertation—repeatedly returns. Non sono brutto da vedere. Potrei stare benissimo su un piedistallo in mezzo a Piazza di Spagna o a Piazza Navona al posto della fontana. E allora vi faccio una domanda. Forse vi vergognate? Gli antichi invece mi facevano i monumenti, gli Etruschi e i Romani. E gli obelischi che cosa sono? Ha le ali? Ha il becco? Other passages suggest impossibility of relating the form of the protagonist except through a series of comparisons: Che forma ha?

Oppure ha una di quelle forme che non si possono definire con una parola? Ha un alto e un basso? Una base? Grosso rispetto a che cosa o piccolo rispetto a che cosa? Ci vuole sempre un termine di confronto. A nessuna delle due? Assomiglia a qualche cosa? A che cosa? A una pipa? A un palo? A un pugno? A un pilone stradale? A un tubo? The following passage further problematizes the paragon, since the term to which the Protagonista is likened, like the Protagonista itself, cannot signify except through another comparison: Diritto come un fuso?

Che osa? Un palo della luce? Un tronco di betulla? Un tubo di ferro? Un sigaro cubano? Una pompa da bicicletta? Il collo di un fiasco di vino? Un candeliere da chiesa? Un obelisco? The result of such sequences of comparisons is a signifying chain, in which meaning is not bound to any one fixed point—in this case, the penis. No thing is a thing in itself, but gains meaning only in relation to the endless other entities enchained.

The first murdered mother we encountered in the dissertation is the Signora Pirobutirro, left for dead at the end of La cognizione after an assault by the night watchman. In addition to an emblem of the artifice of literature, Manganelli depicts woman, denuded, as a site of essential truth. The petrifying gazes that establish a figaliation between Manganelli and Gadda also draw them towards a more ancient ancestor: Orpheus.

In Flesh of My Flesh, Kaja Silverman notes the persistence of representations of Orpheus as a prototypical artist who returns unscathed to sing in isolation of his encounter with and feminization of death. This response roots Hilarotragoedia in a specific if fictional historico- cultural context—Italy in the age of madri matte, and blames such mothers for the similarities between works produced in such an era. Though all textual evidence suggests that the attack that leaves the Signora for dead at the end of La cognizione is the work of the night watchman, the text nonetheless raises the specter of matricide, most explicitly when Gonzalo threatens to kill his mother.

While visiting her son, she approaches his sofa, stained with some abject matter—a macula radiosa. Discourse on the Difficulty of Communicating with the Dead. Che era qualche serpente mitico, evidentemente, non ero io. E quindi io continuai a cucinare.

Era contro il creato, non lo so, contro le stelle…. Era sopra, no? Is this the legacy of Orpheus, whose artistic blossoming is predicated on a banishing gaze, an exclusion of woman? Is it the legacy of the Cartesian subject who excised the world only to reconstruct it with his look?

There hand in hand they stroll, the two together; Sometimes he follows and she walks in front, Sometimes he goes ahead and gazes back— No danger now—at his Eurydice. What emerges is by no means a causal relation, but a common constellation, a persistent analogy.

We can only hope that through this and other projects of recognition we might begin to make whole what has been smashed, and perhaps even reawaken the dead. Della dissimulazione onesta. Turin: Einaudi, Agamben, Giorgio. Stanford: Stanford U. Press, Word and Phantasm in Western Culture. Minneapolis: U of Minnesota P, Almansi, Guido. American Psychiatric Association. Antonello, Pierpaolo. Festschrift for Gian Carlo Roscioni. Manzotti and F. Arbasino, Alberto.

Milan: Adelphi, Ascoli, Albert R. Dante and the Making of a Modern Author. New York: Cambridge U P, Aspesi, Natalia. Milan: Rizzoli, Baer, George W. Stanford: Hoover Institution Press, Balestrini, Nanni, ed. Una rivista e il Sessantotto. Milan: Feltrinelli, Barilli, Renato. Barilli, Renato and Angelo Guglielmi, eds. Critica e teoria. Turin: Controsegni, Barthes, Roland. Bataille, Georges. The Story of the Eye by Lord Auch. San Francisco: City Lights Books, La battaglia del grano. Istituto nazionale luce, Battisti, Eugenio.

Il Gruppo 63 a Reggio Emilio. Belpoliti, Marco and Andrea Cortellessa, eds. Riga Giorgio Manganelli. Benedetti, Carla. Ben-Ghiat, Ruth. Fascist Modernities: Italy, Berkeley: U of California P, Benjamin, Walter. The Arcades Project.

Eiland and K. McLaughlin, ed. Cambridge: Belknap Press, Hannah Arendt. Harry Zohn. New York: Schocken Books, Bernhard, Ernst. Berto, Giuseppe. Il male oscuro. Milan: Rizzoli: Bertone, Manuela. Bertone and Dombroski Bertone, Manuela and Robert Dombroski.

Carlo Emilio Gadda: Contemporary Perspectives. Toronto: U of Toronto P, Biasin, Gian Paolo. Brooks, Peter. Reading for the Plot: Design and Intention in Narrative. New York: A. Knopf, Bratiotis, Christiana, Cristina S. Schmalisch, and Gail Steketee. Oxford: Oxford U P, Bricchi, Mariarosa. Manganelli e la menzogna: Notizie su Hilarotragoedia con testi inediti. Novara: Interlinea, Calvino, Italo. Cento piccoli romanzi fiume.

Milan: Mondadori, Cannon, JoAnn. Cattaneo, Giulio. Il gran lombardo. Cases, Cesare. Patrie lettere. Charles, Daniel. New York: Ecco, Choate, Mark I. Cambridge: Harvard U P, Colonna, Marco. Bari: P. Lacaita, Confessions: Animal Hoarding. Contini, Gianfranco. Scritti su Carlo Emilio Gadda Cortellessa, Andrea.

Corti, Maria. Ombre dal fondo. Il viaggio testuale. Le ideologie e le strutture semiotiche. Crookes, William. London: Longmans, Green, De Benedictis, Maurizio. Manganelli e la finzione. Rome: Lithos, La piega nera. Anzio: De Rubies, Debenedetti, Antonio. Una menzogna di secondo grado. De Grazia, Victoria. How Fascism Ruled Women: Italy, Del, Boca Angelo. I gas di Mussolini: Il fascismo e la guerra d'Etiopia.

Roma: Riuniti, La guerra d'Abissinia. Derrida, Jacques. Chicago: U of Chicago P, Dickie, John. New York: Free Press, Dombroski, Robert. Creative Entanglements: Gadda and the Baroque. Letterati italiani sotto il fascismo. Naples: Guida, Esposito, Roberto. Flaiano, Ennio. Tempo di uccidere. Le ultime lettere di Jacopo Ortis. Rome: Newton Compton, Foucault, Michel. Paul Rabinow. New York: Pantheon Books, The Order of Things. New York: Vintage Books, New York: Picador,

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