I Am/Not Pasolini

A Further Explanation of My Last Error

By Pier Paolo Pasolini

 Louis-Georges Schwartz 

I historicized sexualities in order to create a virtual rupture in the lived experience of my audience, opening them to the potential for new practices, for example when I presented myself as a slave, a young girl, at auction. I picked a young boy to buy me. I gave him my money. I told him to get us shelter. We fucked there. He didn’t know how to fuck. He was so very young he did not know how to fuck. Soon he figured it out. No: I showed him. I was a great artist. I told my new boyfriend to sell my art but not to a white man, because the white man will separate us. My intervention in the life-world of my audience depended on an accurate analysis of that world, but it was changing more rapidly than I could grasp when I began. Nevertheless, I had found a way to speak as a poet of what I hadn’t experienced. [...] Where everything is transgression, there is no more danger. Neither Art nor Underground cinema had the capacity to intervene. Power, any power, is evil, whether it preserves institutions or whether it founds new ones. If a power which is “less worse” than others is conceivable, this could only be a Power that, in preserving or reconstituting the norm also took into account the appearances or reappearances of reality. Perhaps even such a power cannot intervene in the life-world. Our failure was the failure to consider that possibility.

[mashup goes further on World Picture 6]