Abstract: Pasolini at the end of his career, the Pasolini of Salò and La nuova gioventù, displays the reality of the social effects of neocapitalism in a brutal way, even in the name of “expressive freedom.” A doubt comes up, however, that such a “freedom” is only illusory. Is displaying all of reality, tearing apart every veil of modesty, up to the point of destroying the illusion of fiction, really the path to the “truth?” This essay has as its guiding star the reactivity of Pasolini at the end of his career. This concentrates above all on the lyrical counterpoint between La meglio gioventù and La nuova gioventù; then on the rip inflicted by the film Salò not only on the esthetic horizon of the Trilogia della vita, but precisely on the possibility itself of a reconciled usage of fiction. Finally, the essay will look at Pasolini the critic and his reactivity toward maestro Contini, unleashed in the act of electing la Ginestra di Leopardi at the head of an “underground” poetic line, in which the dichotomy between plurilinguism and monolinguism is eluded.
Keywords: reattività, libertà espressiva, palinodia, finzione, “verità”, realità, necapitalismo.
