(letter to a friend) 
Dear C.
one of the things that I just can't stand is thinking that I wasn't clear in a speech, and perhaps that evening in the pizzeria the things I said were too many and not very tidy, I thought I'd go back to it with some notes, in the awareness that writing helps to better orient oneself in the river of words that often "exceed" us, and in the hope of being successful this time less messy.
The issues were two; the first concerned the politics of the territory, and to this  I thought I'd dedicate the next article background of Uqbar and surrounding areas, which I mentioned to you something about on Saturday at conference and of which I attach a copy, which summarizes our (of Uqbar I mean) positions on the topic.
For how long concerns the second issue we talked about, I am referring to that of the theatre in high school, I still think it's particularly difficult to tell; perhaps the exchange of letters between Erri De Luca and Angelo Bolaffi that I read in these days it can help us.
I'll give you a particularly interesting passage in which Erri De Luca, trying to define the spirit that fueled '68, he says:

“…and another of these advantages was participate in a carousel of loves that teemed in the midst of those tensions. But they weren't for everyone, there was an exclusion code there too.
The hierarchies of beauty, of wealth: the beautiful, the well-dressed, the well-endowed were not worth a penny. But other attractions mattered, such as the credit that individuals grabbed with their words among others.
There was a stage and distributed degrees. The most of us daydreamed about the girl to hold our arm with procession, to be protected in case of need and in front of which to show oneself resolutely. Who knows how much courage back then, even mine, was dedicated to the shoulders, to a a pair of impossible eyes following us from afar. Better not to look back try to cross them, they weren't there anyway.
This is how you lived in love, even without someone else part to hold between your teeth in a name. We were in love because we were passionate about it around and promised everyone a day of luck.”

     (Erri De Luca and Angelo Bolaffi, from “Like us with ghosts”)


Here, the theater in those high school years constituted, for some of us, a bit of what sixty-eight represented for Erri De Luca and what it represents for us today Uqbar… the feeling of living in a prolonged dream.
A joy intense and elongated, which lasts long enough to give you time to look at it from the inside outside: a strange sensation, which you carry with you forever with certainty that you were lucky enough to steal a secret from the world and that you have the duty to tell it…
But tell desires are not difficult, the challenge is to give them consistency, and then I thought to the engineer as a builder of dreams and to Uqbar as the city where start trying our experiences…
So here it is because, that evening, I told you that the first step to take is to look for forms of aggregation around a project that can trigger sensations like those described above, only then will we have made a contribution true, revolutionary because it has the strength to leave its mark on ours city.
You said that it's not possible to aggregate everyone, you said "but do you look around?", okay, but This is exactly what I meant when in the leading article I wrote "un natural phenomenon of amplification and resonance", that is, if it begins to working with someone then becomes a chain reaction…
I think the revolution can take place in a moment of distraction of events, when it seems truly impossible, when Nobody he expects it, but we do we are there ready to seize the moment…
And in this the Summer Schools and the Institute have an important role... in the awareness that culture is a means and not an end... and the "C group", as I call you in Uqbar meetings, he can give us a hand, I'm sure...

I'm leaving tomorrow for Paris and I don't know if I can get you these notes in the meantime I'll add a note: your friend Miriam is really nice...


Soon!