In Demian, Hermann Hesse draws on a wide range of cultural allusions. One of the most recognizable is the figure of Beatrice, the heavenly beloved familiar from the works of Dante Alighieri. Less recognisable, because carefully hidden, is what Hesse, through his protagonist, makes of the beloved. Strange as it may seem, Emil Sinclair’s quest for himself, which is the theme and purpose of the novel, requires her murder.
Whether it originated from police interrogations, from the febrile imaginations of anti-semitic journalists and priests, or from the murky thoughts of the conspirator, ‘Nubius’, the ‘Permanent Instruction of the Alta Vendita’ anticipated to a high degree what has become of the Roman Catholic Church.
Claude Lanzmann’s ‘Shoah’ is a memorable film. Not because of what it says. But because of its refusal to say anything at all. The theme of Shoah is the Holocaust, in which over six million Jews were murdered by National Socialist Germany. But to state the theme in this way is to already go beyond the film. Shoah can be classed as a documentary, in that it features interviews about events to which the interviewees were eyewitnesses. But it does not document anything, or try to explain anything. If there is a message, it must be worked out by the viewer, in subjective imagination. Which puts the question to me.
Gomorrah is the title Roberto Saviano chose for his well-known book on the Camorra, the network of criminal organisations that have dominated Naples and Italy’s Campania region for generations. A revelatory choice. Gomorrah and Camorra sound alike. And are alike. The land of the Camorra is a lost place, ruined by greed, hubris, and the vilest excesses. A Biblical place. A place of the damned.