
|
|
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."
  
|
 |