{"id":1298,"date":"2005-10-27T10:11:41","date_gmt":"2005-10-27T17:11:41","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/10\/tribute_to_pasolini\/"},"modified":"2005-10-27T10:11:41","modified_gmt":"2005-10-27T17:11:41","slug":"tribute_to_pasolini","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/10\/tribute_to_pasolini.html","title":{"rendered":"TRIBUTE TO PASOLINI"},"content":{"rendered":"<p>Doug Ireland, <a href=\"http:\/\/direland.typepad.com\/about.html\" class=inline target=new\"><strong><font color=#003399>radical journalist and truth-teller<\/strong><\/font><\/a>, messages a request: &#8220;As the 30th anniversary of Pier Paolo Pasolini&#8217;s murder is coming up in a few days, would you consider giving this a plug?&#8221; We&#8217;re glad he asked.<br \/>\n<a href=\"http:\/\/direland.typepad.com\/direland\/2005\/08\/restoring_pasol.html\" class=inline target=new\"> <img decoding=\"async\" alt=\"Pier Paolo Pasolini\" src=\"http:\/\/direland.typepad.com\/direland\/images\/pasolini_darkglasses.jpg\" width=140 align=right border=0\/ ><\/a> &#8220;This&#8221; refers to his exclusive publication of Pasolini&#8217;s major poem <a href=\"http:\/\/direland.typepad.com\/direland\/2005\/10\/a_hitherto_unpu.html\" class=inline target=new\"><STRONG><FONT color=#003399>&#8220;Victory&#8221;<\/strong><\/font><\/a> for &#8220;the first time ever in English translation.&#8221; The &#8220;day of victory&#8221; of the poem\u2019s last line, Ireland explains, &#8220;is April 25, 1945, when German troops surrendered in Italy, effectively ending the fascist era.&#8221; The poem was translated by Ireland&#8217;s friend, <a href=\"http:\/\/www.normanmacafee.com\/forest.html\" class=inline target=new\"><strong><font color=#003399>Norman MacAfee<\/font><\/strong><\/a>, who also selected and translated <a href=\"http:\/\/www.amazon.com\/exec\/obidos\/tg\/detail\/-\/0374524696\/ref=pd_sim_b_3\/104-5618531-0340703?%5Fencoding=UTF8&#038;v=glance\" class=inline target=new\"><strong><font color=#003399>Pasolini&#8217;s collected poems<\/strong><\/font><\/a>, now in paperback from Farrar, Straus and Giroux.<br \/>\n<a href=\"http:\/\/www.amazon.com\/exec\/obidos\/tg\/detail\/-\/0374524696\/ref=pd_sim_b_3\/104-5618531-0340703?%5Fencoding=UTF8&#038;v=glance\" class=inline target=new\"><img decoding=\"async\" alt=\"Pier Paolo Pasolini: Poems [Translated by Norman MacAfee]\" src=\"http:\/\/ec1.images-amazon.com\/images\/P\/0374524696.01._SCLZZZZZZZ_.jpg\" width=130 align=left border=0 \/><\/a> Pasolini, above, whose mutilated body was found in a vacant lot 20 miles outside of Rome on Nov. 2, 1975, was &#8220;a giant polymath of postwar Italian culture&#8221; who &#8220;frequently celebrated homosexuality in his writings and films,&#8221; Ireland writes. Ireland&#8217;s <a href=\"http:\/\/direland.typepad.com\/direland\/2005\/08\/restoring_pasol.html\" class=inline target=new\"><strong><font color=#003399>must-read piece <\/strong><\/font><\/a> about Pasolini&#8217;s murder and his career as a filmmaker, poet, novelist, playwright, literary critic, political columnist and painter, tells why Pasolini&#8217;s friends believe the killing was a political assassination and not, as originally claimed, an &#8220;S&#038;M adventure gone bad.&#8221;<br \/>\n<i>&#8212; Tireless Staff of Thousands<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Doug Ireland, &#8220;This&#8221; refers to his exclusive publication of Pasolini&#8217;s major poem Norman MacAfee, who also selected and translated Pasolini, above, whose mutilated body was found in a vacant lot 20 miles outside of Rome on Nov. 2, 1975, was &#8220;a giant polymath of postwar Italian culture&#8221; who &#8220;frequently celebrated homosexuality in his writings and [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1298","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-kW","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1298","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1298"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1298\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1298"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1298"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1298"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}