Profanity, this transgressive language that reflects our most immediate feelings of anger, revenge, desire to offend, which is also a dialectical and persuasive tool, a weapon of incursion and defense, is the main theme of the new and colorful essay by Luciano Galassi, “Tomo tomo, cacchio cacchio”, which will be presented on the morning of September 21 (at 11:30) in Naples at the IOCISTO bookshop in Piazza Fuga.
The author will be present, together with Giulio Adinolfi and Giuseppe Giorgio who moderates the meeting, between the readings of Gino Curcione and the interventions of Andrea Jelardi.
For Neapolitans, using profanity also recalls an expedient to color concepts, underline expressions, redeem stereotypes or reinvent the way of expressing oneself.
It is also a joke, a mockery, a caricature and a strain, drawing on what is hidden in our body and its functions to make them an object of amusement.
In this, this city shines for true gems of "fat talk", handed down by sayings and literary productions from the 500th century to today, even of a high level. Just think, for all, and there are many, of Filippo Sgruttendio up to the recent Inferno of Neapolitan poetry by Angelo Manna and the very recent one, with the same title, by Federico Salvatore.
Luciano Galassi, also a scholar of this segment of Neapolitan speech and therefore an admirer of the Squallor group, which he cites extensively in this work, has as always researched, rationalised, reorganised and explained a kaleidoscope of images and words to be enjoyed.
From an excerpt from the book:
Go fuck yourself! “Go fuck yourself!” Another vulgar interjection-invitation which involves the action of sending someone to hell, to the devil, to hell, to hell with you.
[…] There is also a little scene narrated by Enzo Grano: a group of young men, “on a sultry August night”, in the Speranzella area of the Spanish Quarters, approaches “an old man gathered in poverty on the threshold of the hovel” and addresses him thus: «Ne', cumparie', iammo buono pe' ghi' addo' avimm' 'a i' nuie?». (Which is a bit like the very famous “to go where we have to go, where we have to go?” by Totò in the unforgettable film Totò, Peppino and the Malafemmina). And the other, in response: «If you had to break your cock, you have arrived. If you had to go fuck yourself, come on, servant».
Towards more people the invitation is expressed with Iate a fa' 'nculo, an example of which is the dialogue between the maids at the Royal Palace in the second act of La gatta Cenerentola:
FIFTH MAID: [The king] …Make [his daughter] a dress with the sun shining and the moon shining, it was beautiful… very beautiful!
FOURTH WAITRESS: But what does this thing have to do with the prince?
FIFTH WAITRESS: You're right! What does that have to do with it!… And you made me 'mbruglia'! (Trying to remember) Wait… that was the prince's grandfather!
SECOND WAITRESS: Don't listen to me… she's drunk!…
FIFTH WAITRESS: Wait... wait... I remember... chillo era 'o pate... tell mum, tell Riggina!
FOURTH WAITRESS: Okay... there's a lot of votes!
FIFTH WAITRESS (annoyingly): Fuck off, you and I don't care!
Luciano Galassi, a retired business manager, is passionate about puzzles, 900th century Italian literature and Neapolitan literature. With the publishing house Kairós he has published the texts 'O mellone chino 'e fuoco, Acqua 'e maggio, Le zandraglie, Mannaggia Bubbà, Asso 'e coppe, Chianette e carocchie, Cucozze e caracazze, Figlio 'e 'ntrocchia, Nonna nonna, nunnarella; the collection of short stories Sigma più, Venere all'incanto and the novel 101 shades of eros.
In 2015, Guida-Kairós published Salùtame a sòreta and the new, revised and expanded edition of Neapolitan Wellerisms.
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