Britain’s ‘Clean Hands’ Moment

Lucarelli introduces his De Luca trilogy with a fine story about interviewing a retired police sergeant who had served first in Mussolini’s OVRA, arresting anti-fascists and communists, then in the partisan police, arresting ex-fascists, then as a policeman in Italy’s Christian Democrat republic arresting former partisans. ‘And so on,’ up to 1981.

In fact Lucarelli was at the University of Bologna at this time, still researching a thesis (subsequently abandoned) on the police under Fascism pre ’43. But he had wandered somewhat off piste. A question came to mind: for whom did this chap vote?

‘I wanted to know if at least at some point he had been bothered about putting the handcuffs on someone, and instead he looked at me, slightly offended, and said, What’s that got to do with it? I’m a policeman.’

(Lucarelli: Nota di Carlo Lucarelli in Il commissario De Luca, 1990-1996)

That sense of a centre of gravity reappears during the second of the trilogy:

‘Look, I like my work. I’ve got it all in here. He tapped his head with the tip of one finger. And I think I’m good at it. But I lack experience. I took the police officer course when the armistice happened and I went immediately into the mountains with the partisans… The practical stuff I did alone. But it’s not enough. It won’t be enough very shortly because, yes, everything’s going to change. Perhaps there’ll be a revolution but the police, this much I know, will always be the same.’

(Lucarelli: L’estate torbida, 1991)

*

It might of course seem like trimming. It might be exactly that. But not always. Sometimes, ideally, there might be a loyalty to something higher which can unite the private person, his constancy, her self respect, with a social identity which perdures through all its changes.

What’s significant about Britain’s current parliamentary crisis is not that a significant number of MPs can now be seen to have been corrupt (that much isn’t surprising) but that the Fees Office had been drawn into that corruption, just as the intelligence services had been drawn into a different sort of corruption during the preparations for the invasion of Iraq under Cardinal Blair.

Indeed it has been the marvellous achievement of New Labour, heading towards a British version of Italy circa 1992, continuing the damage wrought by Thatcherism, to have destroyed much of the independence of the Civil Service, to have damaged gravely, unacceptably, the freedom of action of the Judiciary, and to have expunged almost completely any notion of politics as a set of actors, actions and beliefs that together constitute what we used to call a vocation and not something comparable to, say, the activities of some of the more questionable figures in the business community with whose salaries politicians’ incomes are now, apparently, meant to be in competition.

To have destroyed, in short, not only independence and self respect at a personal level (and thus in the case of individual MPs) but also constancy and integrity at a social level, which is the level at which institutions and those who make up those institutions have to function.

Conjunction versus Connectedness

At last year’s Radical Philosophy Art & Immaterial Labour conference at Tate Britain Bifo spoke of a shift from conjunction, the world of the connotative where subjectivities interact, change one another unpredictably, become ‘other’, to the connectedness of machine like functionality, a denotative and objectifying world of unaltered and non altering singularities. In Infanzia e storia Agamben looks at the decline of experience as accumulation into time as mere succession.

These two observations are by no means unrelated. Read by their lights Lucarelli’s Un giorno dopo l’altro becomes a sort of road novel about that connectedness, constructed out of the subjective experience of three quite separate individuals of the (objective) links between them, and about how time and distance now present themselves as repetition.

Alessandro is a youth who works for an ISP, where he monitors internet chat rooms. Time has stopped for him since his girlfriend went back to Denmark. So he has set Luigi Tenco’s song Un giorno dopo l’altro, itself about repetition, to play as an infinite loop: ‘Day after day / time disappears: / the streets are always the same, / the same houses. // Day after day / and everything as before; / step after step, / the same life.’ He has a docile dog (called Dog) which others mistake for a pitbull. When he first encounters Vittorio (as he himself squats in an otherwise silent chat, surrounded by the empty noise of other rooms)  it is simply as lines of text replying to earlier text from someone called ‘the old guy’.

Vittorio is a contract killer. He is not a serial killer, though he constructs that image for himself: ‘the pitbull’. This, however, is a sort of nickname or tag used with the aim, apparently, of returning (once it becomes appropriate) back to his former anonymity through a semiotic death: ‘In order to kill himself the pitbull had first had to be in existence.’ His real death is experienced, subjectively, paradoxically, as a semiotic death, a literal loss of signal, as descending into white noise, as ‘fading into a hissing whiteness, like plunging into a sea of grass. He thought: it’s ending. He thought: for real. He thought: here.’ End of signal, end of journey, end of time.

Grazia is a police officer. She is one of a team keeping villains under surveillance. In the course of her work (and the novel) she is objectified at various points by the male gaze of Alessandro, of Vittorio and of her fellow officers. Initially she encounters Vittorio as an absence, a murderer of three people who has somehow managed to slip through the net of hidden microphones. So technology fails at this stage. But her method of tracking down her suspect is taken straight out of set theory (‘Narrow down. Connect. Exclude and narrow down again.’) just as Alessandro’s initial and very indirect contact with the person behind the ‘pitbull’ nickname, mediated through his colleague Luisa, is by checking through IP numbers.

Throughout the novel runs a network of roadways traversed (subjectively) by Vittorio not really as the means towards some end but as the pattern of life itself: ‘On the motorway life is movement. If you stop it’s because you need help.’  As well as two different binaries. Grazia’s putative pregnancy, which could still be resolved by a test which Grazia never quite administers but instead reveals, more or less accidentally, first to Alessandro then to her fellow officers, as a sort of item of her trailing or extruded subjectivity. And the dilemma Alessandro faces: to get his girlfriend back or move on; ie What to do about time? Which he resolves (or fails to resolve) by flying to Copenhagen, winding back the tape, turning the clock back, foreshortening distance, right at the end of the book.

Driving II

On the motorway what matters isn’t being but moving. At a reasonable distance you can talk about being at Pescara even if you’re not there, because that’s where you’re going. For a body in continuous motion direction is more important than any particular point that won’t be there moments later […] On the motorway life is motion: continuous, constant, without interruption.

[…]

When driving along the motorway you can still do lots of things. Listen to music, speak on the phone, think, sing, drink. You can give yourself a scratch. […] What you can’t do is raise your legs onto the seat and knot them into the lotus position. You can’t read a book or watch television. Or sleep. You can’t maintain your gaze in another direction that isn’t straight ahead.

(Carlo Lucarelli: Un giorno dopo l’altro)