The Vampire's denial of human dignity

We have already mentioned the denial of dignity as a means of appropriating energy by referring to the short story The Building Manager, in which the encounter with the Vampire and his rude methods of appropriating the vital energy found in human dignity results in a sense of inadequacy toward life and the sensation of finding oneself at a crossroads: either one resigns oneself to one's own inferiority, or one changes one's ways and behaves like the Vampire. This is what happens to Massimo, the protagonist, following the scene described in regard to the symptoms of vampiric aggression. Humiliated by the two individuals who persist in not responding to his greeting, Massimo falls prey to a strange, enigmatic vision of the condition into which Vampires force their victims.

As he turned the handle of the door, he felt that, against his will, he had become part of a band. A legion of individuals who no longer had any choice. They were dressed as slaves, and bore a sign around their neck: ATTENTION: A PERSON DEPRIVED OF DIGNITY. THE MOST BASIC LAWS OF COURTESY ARE SUSPENDED TOWARDS THIS PERSON UNTIL FURTHER ORDER. Reflected in the glass pane of the door, he saw himself, together with many other slaves, lining up to reach a table where a clerk distributed a gray sheet of paper to each of them. When his turn came, he was given a carbon pencil: he had to make an "x" in one of the two boxes shown on the gray sheet of paper. In the first was written: HUMILIATION; in the second: SUPERIORITY. Massimo hesitated. He could choose between accepting all that had happened with submissiveness, or reacting to it with superiority, concluding: "I don't give a damn about the well-being of those two boors!" He understood that whichever choice he made, he would enter into a alien logic, according to which men are not equal: either one feels superior to the other and the other accepts it, or else they both feel superior and show contempt for one another. To make an "x" in either one of the boxes on that gray sheet of paper meant, in some way, performing a crime against humanity and against the one, incontrovertible truth, religious and secular, that exists on this earth: that men are all equal.

The scheme reappears elsewhere as well, in particular in the already cited short story The 1100 Belvedere. It's a story based on fantasy, in which the protagonist, during a car trip with Chicca, his three year old little daughter, experiences the miracle of a mysterious temporal lurch, and finds himself face to face with himself as a child and with his father when he was the age he is now. The episode of the protagonist as a child is the central event of the story. As we have already mentioned in the section dedicated to the symptoms of vampiric aggression, a child who is considered "guilty" of having uncovered a family secret which he was not supposed to discover, is for this reason cruelly deprived of the dignity which he enjoyed earlier, and confined to a dimension of "strangeness" and permanent discredit: obviously, for the purpose of making his affirmations seem unreliable. The father plays a marginal role in this vampiric plot to harm an innocent child; nonetheless he becomes the ideal accomplice of the child's real persecutors, namely, his wife and an ambiguous "friend of the family". In fact, although he suspects the truth, he prefers not to see it, and upon his wife's urging, decides to entrust his son to the care of Doctor Maggi, the very person who is at the center of the unspeakable family secret. Here is the father's description of the child:

"He is strange. So strange. First he was an ever-cheerful little boy, jovial, full of fancy. He sang and recited poems for everybody. He invented stories. Clever. Smart. And now, instead, look at him […] Here he is. Always sulky. He has become bad-tempered and off-putting, he who was sunny, open and unconventional also with strangers. Just think that when I took him to work with me, till some time ago, he was the attraction of the whole office. They all adored him. Now they treat him as if he had some illness. He keeps silent there, aloof, hardly answers to the greeting of the colleagues, not even smiles out of kindness. And then, at home, he has become spiteful. And treacherous. He seems to be always brooding over something. He never speaks, but then, as soon as you reproach him, he is at once ready to be argumentative. Then he speaks surely. He stops only with blows. He makes clear and is pedantic on everything. I assure you that at this point to try to bend him is an effort. We have even thought of granting him to some… institute of religious people who can speak to him, guide him. But I really don’t feel like it. I’d prefer that doctor Maggi gave him a cure, advised me of some therapy, some meeting with a psychologist, I don’t know, I don’t know…"

And here, instead, is the protagonist's view of the child, when he is finally released, thanks to the miracle of that encounter, from the domination of the "official", convenient versions of the past, and is free to love that child who was himself, and to accept him:

The mouth which had perhaps too much spoken; too much expressed, and which now was blocked in the bloodless fixedness of an everlasting half-closed crack. The indistinct nose, in its growth, between a ball-shaped outcome, which would have freed him to the eternal childish and finally to the ridiculous, and a prolonged one, which would have marked before time his countenance with the allusion at his being already too adult. The lengthened face. His head, which ought to have been rounded and well proportioned till a few months before, now was stretching out a little too sharpened towards the sky in search of an answer, of an angel-like voice which could help him to understand a very difficult reason for his childish soul. The ears quite a bit shifted from the head, as if to want to eavesdrop at the door of a life that had made him promises of extraordinary melodies and that now had excluded him from the delight of its beautiful song. And at last the eyes, misted over like two stars twinkling far away right in the background of a mass of chimneys insensitive to the sky, and only able to smoke him with their heavy dross.

Here, finally, are the thoughts with which the protagonist concludes his re-examination of that time in which the dignity of an innocent child was sacrificed to a higher requirement, and the bold decision that follows from them:

I thought of my father, who was closed in the dark of his 1100 Belvedere, and it wrung my heart. He was a good man, who like all of us knows but doesn’t know, and asks himself unanswerable questions only because they assure him the possibility to cling to the doubt; and he knows well that if he stopped for a while asking himself those blind questions he ought to meet with the answers that had always been there, simply there. But I also thought of the "family problems", of the mum that could not take it any longer, of Maggi, of how "worldly-wise" and "trustworthy" he was, and of the cures and therapies that were going to be organized to immerse into the font of oblivion that little boy, who one day had been happy, but now knew too much to be able to aspire to be still as such. I entered headlong and slammed the door, like an American cop disposing to chase a criminal. I fastened Chicca to the child’s chair, closed decisively my seat belt and blocked the doors. Then I looked at him in the rear-view mirror: his big eyes were sparkling and had the same excited and enraptured face of when dad had not met Maggi yet, and made him dream because he was a great hero. I shifted to first gear and took off.

In the story Angelo, Ivan, as we know, is a talented amateur soccer player whose problems begin when Angelo, the captain of the team, begins to compete with him. Here is how Ivan becomes grotesquely distorted in Angelo's eyes, even though Ivan harbors no feelings of competition toward Angelo.

Angelo was stressed and frustrated as he had never been in his life. His world had been shattered after Ivan's arrival. He was still the idol, the myth, the captain and undisputed leader of the team and of the neighborhood, but that dandy who only knew how to drive home air-borne balls that were already destined to end up there, had entered his life like a curse. He actually hated him. He hated him for his false humility, for his false altruism, because he always passed the ball right under his feet, never a few meters ahead as he wanted him to, and he did it on purpose, to make him stumble. He hated him because he was attending university instead of earning a living by toiling, as he did. Because he never said a word of praise to him, nor a word of consideration, but only smiled at him with that idiotic face, as though he wanted to make him understand that for him the great Angelo was a nobody. He hated him because he had ridiculous luck. He took a shot at the goal and the ball went in, sometimes rolling in sometimes bouncing, sometimes avoiding the goalkeeper sometimes straight in, but always poorly kicked, with that foot that seemed like a hoe. He hated him because Ivan was one of the privileged ones, a hypocrite, a chichi...

In Angelo's language, the expression chichi is the worst insult you can give a man. Chichi, in fact, means chic, and stands for the most artificial, affected, privileged and effeminate person conceivable. Angelo's reaction will be deadly, and will consist in denying Ivan his dignity by taking advantage of precisely this concept of chichi, which will be enough to unleash the hatred of the entire neighborhood against Ivan.

Ivan was continually challenged, hissed at and given the raspberry during the games; once, when they were yelling at him "pia-zza-le-lo-re-to pia-zza-le-lo-re-to", he stopped to argue with the fans and tried to explain that it wasn't clear who was the most proletarian, he or his rival, because he was the son of a union member of CGIL, the Italian Trade Union Organization, and Angelo the son of a businessman; but an empty bottle of orange drink landed on his head and he ended up in the emergency room. His Seicento had its body scratched, its tires slashed, the windshield cracked and the windshield wipers broken.

Ivan, deprived of all his vital energy through the denial of his dignity, and unable to adequately react to the social anathema instigated by Angelo, will enter into a personal crisis which will not only lead him to abandon soccer, but will have grave repercussions both on his emotional life and on his studies.

The theme of the denial of dignity also recurs in a dramatic way in the short story The Mask. A mother-specter, who in life had felt that her relationship with her daughter was threatened by the existence of the latter's husband, is trapped in a twilight dimension in which, unable to understand her own condition of having passed away, continues to torment her daughter exactly as she did in life. The method she uses, both in life and in death, to defend herself against the threat of her son-in-law is obviously that of trying to discredit him in her daughter's eyes, denying dignity to his human quality. The husband is once again Massimo, the protagonist of Samuel Serrandi and The Building Manager, who as is customary in Mario Corte's stories, reappears from one story to another.

Mum opened the fridge and took the small pot with the soup and the small pottery pan where there were two quarters of chicken. Ale seemed to remember that Aurora had broken that pan months before. She hadn’t even seen the small pan for so long. The long crackling of the intercom covered the sizzling of the chicken that Mum had set to heat, in the pottery pan. It was Massimo. He wanted to know if he had to go and buy milk for Aurora. Ale crossed the void and silent kitchen and, while she was opening the fridge, she remembered buying a liter of milk during the morning shopping. She went back to the intercom to tell Massimo there was no need of milk, but turning she saw one of Mum’s hands leaning on a corner of the table, lit up by the sunlight by then fading; the rest of the figure was plunged into darkness. Then she decided that maybe another liter of milk could be of use, and sent Massimo to buy it. Once back to the kitchen she saw the steaming quarter of chicken in her dish and her mother bustling about the garbage."Why are you throwing out the other quarter of the chicken, Mum?"
"Because the leg is not good for me: it’s too fat."
"If you’d told me beforehand I’d have eaten it and I’d have given you the breast."
"You’ve always liked the breast."
"And then what will you eat, besides the soup?"
"Nothing."
"Mum…"
"Let’s hurry up. He’s about to arrive."
"Why, don’t you want to see him?"
"It’s him that doesn’t like to see me."
"After all this time you still don’t like Massimo, do you?"
"It’s not me that has to like him."
"But I’d love you to like the person who is beside me."
"I’d love it, too."
"And why don’t you like him?"
"He is not sincere."
"How can you say that?"
"You can see it. He seems he always wants to conceal himself."
"Maybe it’s shyness."
"It’s not shyness. I am shy. I know shyness."
"What is it?"
"Falsity."
"How can you be so sure?"
"I know it."
"Couldn’t you mistake?"
"No, I couldn’t."
"How can you think of being always right?"
"I’m not always right. But about this I
am right."
"And how do you know it?"
"
I - know - it."
[…] "Why have you never loved him, Mum?", said Ale with her voice quivering.
"Because he is a tepid. A coward. A dead. And you aren’t."
"It’s not true. He is alive. And also Aurora is alive. And also I…"
"You are like me. Not like him."

 

 

 

Copyright ©2001 Mario Corte