Because Giuseppe Conte seems to me a misirizzi
Giuseppe Conte seen by Teo Dalavecuras
The misirizzi, commonly known as "always standing", according to the dictionary is "that toy in the shape of a puppet, stuffed with lead at the base so that it always tends to stand up however it is placed". A toy, I imagine, by now not very widespread since children already at two years old handle electronic instruments to the pleased amazement of parents and other surrounding adults. So that, one might say, the function of "always standing", that is, the object in motion that causes astonishment because it stages the artificial reproducibility of the physical law of gravity, is performed by the little ones by behaving – what a surprise! – from living beings that react to environmental stimuli.
If I say that the lawyer professor Giuseppe Conte, in the many critical passages of his still short career as a professional politician, as the last one that obliges him to confront Luigi Di Maio, reminds me of the misirizzi, I am not doing it to fail to I respect neither the leader nor the professional: I would like to underline this, mindful of a distant interview with Conte's father who commented with some skepticism on the professional turning point of his beloved son, signaling his exaggerated ambition (as if ambition in politics is a handicap: mystery in the mystery): the ambitious are often touchy and the last thing I want is to hurt the fearsome susceptibility of the former premier.
The fact remains that the political history of the lawyer Conte, which has now lasted for almost four years, is a string of gaffes linked together by an unnecessarily pompous eloquence and by the systematic implausible boast of results of which not even his most convinced supporters can credibly recognize him. the merit: starting with that of having given the decisive impetus in Europe to the path of the PNRR or, if you prefer, of having managed the first phase of the fight against coronavirus in an exemplary manner, making Italy a model envied in all the world. Beyond the individual episodes, it is difficult to dispute that the inability to hide irritation, resentment, the desire to appear and prevail, combined with the specific inexperience of the profession, are not precisely the ingredients of a recipe for success in politics.
The one just mentioned, however, is only one side of the coin. The other side shows a Count who has made, in less than four years, a series of astonishing statements, not only for a novice politician: from nowhere to twice in succession Prime Minister, supported by two opposing coalitions, by the nothing at the political head of the main party (yes, all right, movement …) of the Italian Parliament. A cursus honorum that more than a former nineties piece of the ancient Christian Democratic oligarchy could not fail to envy. Above all, in recent years, he has shown a decisive gift, that of always standing. In any gaffe you stumble, whatever enormity it utters, it is unsinkable, not only "tends to rise up" as the dictionary says, but it never pays the price for mistakes in the sense that these do not attract the headlights of public opinion in a lasting way (unlike , for one thing, from what happens to Matteo Renzi).
The same media that, starting with Corriere della Sera, have been methodically dedicating themselves for years to the character assassination of Renzi and his loved ones with a large set of satirical cartoons, if they really have to criticize Conte, they lower the esoteric context of profound analysis of political situation. Even the subject of Conte's relations with his mentor Guido Alpa is handled with the regards reserved for precious silverware or antiques: with white gloves. Renzi in 2016 was systematically and publicly undermined by fine academics, for daring to propose a reform of the "most beautiful constitution in the world", a reform that was always approved repeatedly by Parliament and, in the referendum, by the not inconsiderable minority of 40 percent of voters (or perhaps simply because once the word "professoroni" was allowed to address the touchy category of academics). Conte, on the other hand, in the most dramatic moment of the pandemic crisis was able to afford to appoint an extraordinary and omnipotent commissioner for Covid, with rather negative consequences for the country, a man who evidently enjoyed his blind trust but had the small defect of exercising his own function "by service", while remaining engaged in the management of an important public holding, without any negative consequences, neither for him nor for his trustee. In the silence, ça-va-sans-dire, of the Academy.
Among Conte's supporters there are unsuspected ones, such as Barbara Spinelli, the leftist journalist / intellectual who became the promoter of the “Tsipras list” in the 2014 European elections and then became a European parliamentarian. In the preface to the "secrets of conticide", the book by Travaglio last year which describes Conte's failure to confirm at Palazzo Chigi for a third time at the beginning of 2021 as a deadly plot, Spinelli is produced in an invective by rare violence against those who dared to oppose the sacrosanct ambitions of the lawyer from Volturara Appula.
How do you explain the glaring contradiction between the objective limits of Conte's professional profile as a politician and his undeniable personal success? Not even when Grillo publicly discredits him by calling him incompetent do the media go beyond the minimum wage: they record the news and pass on, a certainly commendable selfr-estrintint, which is nevertheless very rare to encounter in the Italian press.
What vaccine guarantees Conte almost immunity from unwanted media attention every time – and they are not so rare – that his releases lend themselves to severe criticism, sarcasm and irony? It would seem a legitimate curiosity, considering that the man has not abandoned the claim to determine, as a political leader can, the future of the country.
Of course, there is the ancient propensity of Italian journalism to shoot the Red Cross; there is the fact that the enemies of my enemies are my friends, and if there is something established it is the inextinguishable exhibited hatred of Conte for Renzi, who remains the villain of the pièce in the comedy staged daily by journalists Italian politics and parapolitics. But is it so little?
This is a machine translation from Italian language of a post published on Start Magazine at the URL https://www.startmag.it/mondo/perche-giuseppe-conte-mi-pare-un-misirizzi/ on Sat, 12 Feb 2022 06:40:16 +0000.