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Pier Vittorio Tondelli in the essay by Sciltian Gastaldi

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(ANSA) – BOLOGNA, DEC 16 – Thirty years after the death of Pier Vittorio Tondelli, which took place precisely on December 16, 1991 in Reggio Emilia, in whose province, in Correggio, he was born in 1955, the Pendragon Editions of Bologna remember him with “Tondelli: total writer”, a full-bodied essay (over 500 pages) by the Roman writer, novelist and university professor, Sciltian Gastaldi. In his meticulous work, in bookstores and online stores for a few days, Gastaldi dismantles in detail the now conventional interpretation of a “disengaged” and “redeemed to Catholicism” Tondelli author, and instead portrays the playwright and writer from Corror of the greatest homosexual writers of the twentieth century, “a standard bearer of his postmodern times and in the making”.

What emerges is a Tondelli “anomalous son of the Bolognese Seventy-seven, and not the cantor of hedonism. A well-rounded intellectual, who lives in the years of ebb, but does not adhere to them”. Gastaldi’s analysis highlights the objective presence of a strong social commitment in both literary and journalistic writings. The essay, using a non-doctoral language, underlines how Tondelli’s interpretation of the role of the writer falls within the definitions given by great committed intellectuals, from Montale to Calvino, from Said to Eco.

If the characteristics of the littérature mineure established by Gilles Deleuze and Felix Guattari, would even suggest a political commitment, the author believes that in the absence of a political ideology on Tondelli’s part, the social aspect should instead be privileged. And how is this commitment expressed in the Tondellian opus? In “Other Libertines” in his passionate defense of the marginalized, in which the novel’s protagonists are drug addicts, homosexuals, transsexuals and homeless people. In “Pao Pao” in the jokes of a cheerful “tribe” of gay soldiers and graduates described in his grotesque, pitched and successful attempt to “homosexualize” his own barracks. In “Rimini” and in the comedy “Dinner Party” Tondelli attacks the myths of “Milan to drink” and portrays an Adriatic Riviera as a place where everyone passes by and no one belongs. (HANDLE).

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