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< How long – but first of all, in which way – thinking can keep suffering his psychic representation ? Original painting by Gianni Russomando[2] >



Thinking as a defense, if not making fun of it[3].


Marina Bilotta Membretti - Cernusco sul Naviglio January 15, 2022


[1] In ‘Livre XVIII. D’un discours qui ne serait pas du semblant’ (1971), Jacques Lacan seems bending to pessimism. 

[2] Gianni Russomando, biography : “I’m born in Vercelli (1956). Graduated at ‘Istituto di Belle Arti di Vercelli’, I can describe me as a simple ‘amanuense’ (medieval hand-painter). Far from expositions and competitions, it’s not a long time I’m on social media with a very personal aim : to give just a flash of quiet to anyone watching at my simple works.”

[3] “There is not trustworthiness, reliability if any benefit does lack to third parties… So that three are my concluding items : Law, Science, Trust”, cit. in ‘Tre capitoli’, Contribution by Giacomo B.Contri January 7, 2022.    

So long when sirens shriek.

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< ‘My baby just cares for me’, Charlie Parker >


How else can you name the very short, only human life of Charlie Parker[1] ?

He was just a few years old and he already felt better outside than at his home in Kansas City, Middle West without a father and Charlie, unfortunately, a man himself and black too : right a ‘Mama’s boy’, as a matter of fact. But he well applied to music lessons, since his first childhood.

He preferred music to school, notwithstanding music does ask you for mathematical rules otherwise you cannot get out not much from that : until , while he was wandering on the road with fellows, by chance he happened listening at special music from too much high windows for him, who was less than ten years… And then he tried to make again that special melody, just to feel better when coming back home : at fifteen he had already married his next-door neighbour Rebecca who was three years more than him, they lived together at Charlie’s mama home.

Suddenly, that disastrous accident - on the road again – and his two women caring of him better than they could, and he's suffering terrible pains : at emergency ward, they prescribed morphine at highest fixes, but – so able as it was to soften any noisy pain and the world itself – he wanted not to leave it never again.

In 1941 he was in New York where he’ll move definitely, as ‘his’ own music could incredibly sweep away that man and black ‘aura’ : he was underpaid – as any engagement prescribed for players  improvisations, and Charlie himself was his own improvisation, so perfect, so unassailable.

However, what did he think when, twenty years old, he could beat so crazy paces he imposed to every one in his band too, just to fly high with his alto saxophone, and brought in the unforgettable name of ‘Bird’, no one really knows…

He spoke very, very little but he declared himself as a toxic so avoiding to serve the army : he was been playing for almost ten years - both acclaimed and hated - with Dizzy Gillespie[2], undisputable partner in the rising ‘bebop’, sole enough to wriggle both of them out from that old entertainment jazz, which no more  could against the new rapid, rebel, in tune musical language[3].

The biography of Charlie Parker, rough and even uncorrupted about his frequent hospitalizations due to alcohol and drugs up to the terrible obliged experience of electro-shock, nothing says however about his music, which was since then described as a ‘Summer early morning’ : it is something which doesn’t correspond with the lazy, too lazy Charlie and with his melencholic smile as he’s still looking from vintage photos.

Freud named ‘Urges and their destinies’[4] his dense work on unconscious, he first named as distinct from conscience which tries and keeps on linking to unconscious. When no individual work there is, nothing can build again the hiatus between unconscious and conscience, when the split can deprive of one’s own authority someone not defending him or herself, keeping motionless towards his or her, own thought connections.

Not the sirens indeed – at first who ever pay attention to them ? – can be ascribed of that miserable distance to which ‘I’ does give in at last, because of an unexpected, and then uncheckable lack of power.


                                                     Marina Bilotta Membretti - Cernusco sul Naviglio January 6, 2022


[1]Thanks to Gabriele Comeglio, altosaxophonist I listened to in his excellent performances both at the ‘Associazione Amici del Loggione del Teatro alla Scala’ - accompanied by the electric guitar of Sara Collodel - and at ‘Blue note’ in Milan during a recent event dedicated to Charlie Parker, I could appreciate for the first time his wonderful music.

[2] Dizzy Gillespie (1917 - 1993), to which we owe – together with Charlie Parker (1920 – 1955) the newest musical language of ‘bebop’ – unlike Charlie was able to somewhat defend himself into their diffident community and notwithstanding the difficulties of their musical profession, which was badly honoured and paid. As a matter of fact, what distinguished the inexhaustible jazz ‘bebop’ – so distant from previous ‘swing’ and unfortunately not durable, as was demonstrated - is that it supplied with a lot of material a new literature – J. Kerouac and A. Ginsberg first of all – which will make USA a rising yard among readers fascinated by rebellion tout-court, that is absolutely not the reference which unconscious looks for.   

[4] ‘Pulsioni e loro destini’, S.Freud (1915) together with ‘La rimozione’, ‘L’inconscio’, ‘Supplemento metapsicologico alla teoria del sogno’, ‘Lutto e melanconia’ makes the essay ‘Metapsicologia’ – Biblioteca Bollati Boringhieri n°31 (2011). 

A ‘sinthome’ ?


A stage frill for ‘Aedipus’ in the Courtyard of the ‘Accademia d’Arte del Teatro Antico’, at Siracusa.



“I’ll stop any arrogance from insolent people and ‘ll pull down any tyrants pride”/ Is 13, 10-11



Fairly appreciated among the historical novels of Middle Age Anglo-Saxon literature, ‘The pillars of earth’ by Ken Follett does engage the reader up to the last lines : except for, when conveniently ending, the work shifts to a resigned pietism toward the real master of so heavy pressing who was also able to escape the judgement and to whom the Catholic Church had to bend in the 1100 of England, well before king Henry 8th was crowned.


“…And for Waleran, the pity of his enemies was the worst humiliation of all.”[1]


The upbringing comes to mind – strict and Puritan – to which Ken as a child had to bend, up to his adult age and from which he tried with all his clear competence as a writer to disentangle, like from an inextricable tangle that Jacques Lacan showed to his students in order to describe the presumed un-uprooting of a ‘sinthome’[2] : except however when betting everything on the end of skein.

The only one subject, indeed able to play on the winning streak is the owner, him or herself : that is what till nowadays Freud and his psychoanalysis says to us.


                                                           Marina Bilotta Membretti, Cernusco sul Naviglio - December 10, 2021


[1] K. Follett ‘The pillars of earth’ ‘Dutton Signet – Penguin Books U.S.A. (1990), p.981

[2] J. Lacan, ‘Seminario XXIII. Il sinthomo’ (1975-1976)

Land in sight.

To get at your helm, or not.


A recent performance of ‘Cavalleria rusticana’ of P. Mascagni, directed by Antonino Interisano and scenes design by Tony Fanciullo.


“Even obsessive neurosis, as we know, spontaneously recovers without difficulties, especially after a favourable feminine influence, leaving only a few inhibited, eccentric appearances…[1]


Maybe a few of us can wonder that confidence by which Freud judges a real work from patients : and mainly in these written lines where he doesn’t explicit about an analytical work done by the woman, able to be finally a real partner after dropping that neurotic ‘excess’ which is the thought of a ‘feminine look-alike’, as alternative to masculine.

We can ask then why Freud says ‘castration’ also about a woman able to drop that exceeding thought which makes you sick too… Freud however honestly follows his own masculine experience, which he knows, opening the door and any further word to whom would like conveniently speak or write about.

There is something else in those rapid words by Freud : first of all he introduces the feminine as ‘one’ of two sexes, without any other link than offering – still in the care of one’s own thinking – something the partner is neglecting, even due to a strictest education, and so starting a narcissistic solitude.

In addition Freud is telling about a proposal by the woman which only a partner still working on his own inhibitions and symptoms can collect, and surely not someone already gone into narcissism and to whom this appeal could bring all the snares and dangers of changing, even if favourably.

Finally Freud is telling about a quiet woman, neither claiming nor urging, even to share a benefit she already enjoys : and more than in other paragraphs, by me, is evident a distance from that ‘jouissance’ – melancholy or euphoric – from which Lacan alerted but also, resigned in his own removal, did inform about its ineluctability, even if as his own personal and not proved judgement.

Neverthless is nowadays still the bloody passion – well performed by the characters of ‘Cavalleria rusticana’ which remain unbeatably bewitched in the helm wheel of his, or her, obsessive neurotic symptomatology – which keeps on flaming whom comfort, reassure themselves and endlessly  delegate.

                                        Marina Bilotta Membretti, Cernusco sul Naviglio November 22, 2021


[1] “Eros e conoscenza. Sigmund Freud – Lou Andreas Salomè, Lettere 1912 – 1936”, ‘Universale’ Bollati Boringhieri (2010) p.96 (Bad Gastein, 1 agosto 1919).