|Angela Felice and Kirill Medvedev at the opening event of the Pasolini Days in St Petersburg's cinema Rodina|
While the world celebrated the 40th anniversary of Pasolini's death last year there was barely no mention of this in Russia. This year, however, it seems that the figure of Pasolini is stalking the Russian consciousness with a whole series of culturally significant moments that may have been little reported but will surely prove to be landmarks when looking back. Landmarks because the links between Pier Paolo Pasolini and Russia have gone back a long way, although had recently become attenuated and landmarks because of the resonance of the figure and thought of Pasolini in contemporary Russia. Equally, Russia and Russian culture was of great importance for Pasolini. As Francesca Tuscano has shown in her work 'Russia in the poetry of Pier Paolo Pasolini', Pasolini's work is replete with Russian influences and allusions(in other essays and a monograph on Pasolini in Russia she shows a reciprocal story), Russia was, indeed, the starting point for one of Pasolini's most important poems 'The Religion of My Time' after his first journey to Moscow in 1957. Pasolini's influence was equally significant in bringing to the attention of Italian scholars the Soviet Formalists from Shklovsky to Jacobson as well as Bakhtin. His posthumously published novel Petrolio is full of Russian allusions and references. Both Dostoyevsky and Shklovsky are cited often. Many Russians too have discovered that Pasolini (both the poet and the filmmaker and to a lesser extent his other roles) were central to their world.
|One of Francesca Tuscano's works on the reciprocal influences of Pasolini and Russia|
|Kirill Medvedev, poet, publisher (Free Marxist Press) and the translator of Pasolini's Friulan poems|
2016 has proved to be one of those years in which Pasolini has returned into the Russian cultural consciousness. Surely in hindsight one of the central moments of this recuperation of the legacy of Pasolini will prove to be the very first full translation into Russia of Pasolini's Friulan poems including both major cycles of his dialect poetry - La meglio gioventu as well as La Nuova Gioventu. Kirill Medvedev (a poet who has in the past worked on and published a number of translations by Pasolini) has rendered an immense service and overcome many truly colossal hurdles in rendering these essential poems for an understanding of the genesis and final years of the poet Pasolini. An historic moment given that Russian is the very first foreign language into which these poems have been fully translated (and so undoubtedly a landmark moment globally as well as in Russia itself). For it is in Pasolini's Friulan poems where we find the beginning and the end of Pasolini's poetry. The re-writings of the early poems undertaken in the early 70s encapsulate those two moments of the appearance of luminosity (born as one of Pasolini's own poems in Italian puts it through the experience of the Resistance) and the dying of the light in his visionary nightmare of the consumerist hell of a future fascism which Pasolini depicted in his last film Salo' or the 120 Days of Sodom. A hell which seems so very contemporary in these days of Trump, Brexit and the nativist right stretching from France through Austria to Hungary in line with a sadistic 'conservative revolution' all too visible in Russia itself. The emergence of a poet in Friulan (and in a version of Friulan hitherto considered nonliterary) in the early 1940s and the abjuration of this hope incarnated within his poetry in the early 1970s are embodied in a Russian text which demonstrates this dialectic to be of extreme contemporary relevance in Russia itself. The book includes a range of commentaries on this poetry from those of Angela Felice, the Director of the Casarsa Pasolini Centre (who came to introduce the book) to Michael Hardt (well-known for his collaborative works with Toni Negri). Moreover, the book includes an interesting experiment carried out by the leftist Ukrainian activist based in Odessa, Denis Pilash, who translates a number of Pasolini's poems into his native Rusyn language (a language as marginalized from the literary process in this part of the world as that of Friulan would have been in the early 1940s).
|Kirill Medvedev's volume of translations of the full 1974 edition of Pasolini's Friulan poems La Nuova Gioventu, cover by Nikolai Oleynikov.|
|The 12th December- shown at two cinemas in Moscow and St Petersburg- this weekend to accompany the publication of Pasolini's Friulan poems.|
|Alexandra Petrova, author of a Russian novel on Rome where the spirit of Pier Paolo Pasolini is very much present.|
|The cover of Alexandra Petrova's novel Appendix|
Pasolini's presence in Russian culture seems likely to grow stronger than ever. The Russian translation of a large section of Pasolini's Petrolio was published a year ago, as was the book by Emanuele Trevi (Qualcosa di Scritto) trying to dissect the unfinished work of Pasolini and to give (an admittedly none too flattering) portrait of Pasolini's close friend, Laura Betti, who would keep alive the memory of Pasolini in unorthodox ways. The Laura Betti who also had come to Moscow to present a Pasolini retrospective a number of years ago (a trip, alas, not mentioned in Trevi's book).
|Emanuele Trevi speaking through the translator of his novel in Moscow at the presentation of his book in Moscow|