The rebel’s dark laughter : the writings of Bruno Filippi

Translator’s Introduction

The writings of Bruno Filippi offer something rare in anarchist writing — truly beautiful literature. I hope this comes across in my translations — where it does not, the fault is all mine. Filippi entered upon his brief life of revolt at the age of 15, in the midst of World War I, involving himself in anarchist anti-militarist activity. Several of his brief works reflect the dehumanizing effects of military life and participation in a slaughter that was qualitatively different from any war up to that time in the sheer capacity for destruction. One could not rightly speak of "savagery” in relation to this slaughter since its destructive capacity was the precise outcome of the technological progress of civilization. And at this time, some began to seriously question progress and civilization themselves. Among them were anarchists like Bruno Filippi and Renzo Novatore. In this light of this horrendous historical cataclysm, it should come as no surprise that Filippi’s writing is usually very dark and tinged with cynicism.

His essays, stories and prose poems show no mercy for either domination or subservience in any form, and he was as harsh in his assessment of the slaves who resigned themselves to their slavery as to the masters who exploited and oppressed them. He could be faulted, like Renzo Novatore, for his lack of class analysis. But when watching the masses of the poor and working people go out without protest to slaughter each other at the orders of their masters, it must have been difficult for the few who did refuse this slaughter not to be disgusted by such sheep-like behavior. In 1919, when their was an uprising in Italy, Filippi was out there fighting with the insurgent exploited, clear about who was the enemy.

His writing is bound to offend some who can only read through the lens of political correctness. That is their problem. All forms of puritanical morality impoverish existence.

Though his writing is dark and often cynical, in the midst of his cynicism and contempt there is also humor, joy and love of life. His hatred for the world as it is clearly sprang from the love of life and the dream of a world free of all domination.

Who Was Bruno Filippi?

Little is known about Bruno Filippi. He was born in 1900 in Livorno, Italy, the first of six brothers, and his father was a typographer. His family moved to Milan when he was still a child. In 1915, he was already known to the police who described him as a “dangerous element”. That same year, he was arrested during an anti-militarist demonstration; he had a warm gun without bullets. He spent some time in prison. After the war, in 1919, social unrest broke out throughout the country. In Milan, there were often clashes with the police and Filippi was among the rebels. In the summer, several young anarchists, including Filippi, began to attack their enemies. A bomb exploded at the Hall of Justice; there was an attempt to injure one of the most powerful Italian capitalists, Giovanni Breda, with sulfuric acid and a bomb exploded at his house; another bomb exploded at the home of a rich senator.

On September 7, 1919, Bruno Filippi was climbing the steps of the building where the “club of nobles” was located. He was carrying a bomb, hoping to destroy this meeting place for the richest people of the city. Suddenly, the bomb exploded, killing the young anarchist.

Bruno Filippi was a regular contributor to the individualist anarchist paper Iconoclasta! In 1920, the editors of the paper printed a booklet with many of his articles entitled Posthumous Writings of Bruno Filippi.

In The Circle of Life

In Memory of Bruno Filippi by Renzo Novatore

The people who desire to be themselves never know where they are going.

The final outcome of knowledge consists in recognizing that the soul of man is unknowable.

Without being an imitator of rabid Papinian [Papini: an old Italian author, apparently known for his cynicism] cynicism or a superficial and perfumed “voluptuary” like Guido Da Verona; without feeling the ironic skepticism of and the sorrowful bitterness of Mario Marian on my lips; I feel and affirm that life cannot be at all worthy of the name if we do not live it as Artists, as Rebels, as Heroes.

Schopenhauer, in his powerful and frightful volumes of metaphysics, is anxious to show us that Life is sad and that for this reason it isn’t worth the trouble of living it. But the art drawn from the most profound and lyrical human sorrow throbs to exalt the heroic Beauty that in the divinatory exaltation of symbol is transfigured by creative joy that shows us savage purity, that sheds light on the loving spirit, that teaches us to live Life madly. If politics, socialism, christianity, humanism, logic, coherence, right, duty, just and unjust, good and evil, truth and justice, are already boring, vacuous and slumbering things, phantoms that have grown dim and vanished in the anthropocentric sun of the unique negator; parodies of a dying civilization that inspires nausea, repugnance and contempt in us; Art teaches us the great love of Life. We have the need to love it “up to the annihilation of being.” Sorrow and Anguish are the pure fountain of pulsating Beauty for Art. It is in the sulfurous chasms of Sorrow that Art lays its luminous roots in order to be able to fling the verdant happiness of its branches high among the mysterious conflicts of the winds, in the dance of Sun and Light where dreams, hope and Beauty are founded on a tragic song of happiness and Greatness.

Yes! Every snow-covered peak that sings polyphonic symphonies of music and poetry, of love and beauty, on high amid the ethereal purity of light and the golden caresses of the Sun, still rises from a dark abyss. Thus us Life! Sorrow is our creative abyss, Joy and Happiness our mighty dream!

Even if sorrow does not make us better, “I think” says Nietzsche — “that it makes us deeper.” And in the mysterious depths of our being the unknowable enigma toils and hides itself. Hour by hour, moment by moment, it transmutes itself from unknown emotion to known thought, luminous and brilliant, that flashes its darting rays on virgin, purple peaks of revelatory knowledge.

And then, just as vast and glittering strings of stars wandering in the clarity of a cloudless night are reflected in the deep blue of a tranquil sea, so the happiness created by and for ourselves is reflected, smiling, in the sad sea of our sorrow; of this our sorrow that gave us Life!

We must never stop bringing our thoughts out of our sorrow and maternally giving them that within us which is of blood, of heart, of fire, of joy, of passion, of anguish, of knowledge, of destiny, of fatality.

“Life for us is to change all that we are and all that touches us into light and flame, because we cannot do otherwise.” This is the circle — perhaps much too limited — of Life where we are perpetually knocked down without being able to escape except through the silent paths of Death! But Death does not frighten or terrorize us. On the contrary! We who proceed out of the Unknown of eternity and go toward the eternity of the Unknown have learned to look upon Death like any moment of our Life. And this is our most beautiful, our most sublime mystery! This is the final word of knowledge. The unknowable!

And it is from this our unknowable singularity that the powerful and diabolical voice of our ravenous desires rises. Desires of youthful flesh eager for pleasure, the cry of the spirit panting for unlimited freedom, mad flights of the mind through the distant, unexplored unknown; howls and ferocious blasphemies of our galloping and vagabond thought colliding with the much too mysterious walls of eternity, triumphant and dionysian songs of a Life seen dimly through the delirium of a dream, a dream composed of a Whole lost and wandering in a Void. And in the void Death waits for us. This Death that is ours as Life is ours. This Death that we love!

But one should not be lowered into the grave with a heart swollen with sadness and weeping. It is necessary first to have lived in intensely as Artists, as Rebels, as Heroes, without ever having bathed in the bitter waters of repentance that flow in christian rivers. The true original and spirited sinner should not die drowning in the slimy whirlpools of a slimier remorse, but rather enveloped in the rosy blaze of the greatest sin. Before dying, we must be consumed to the last quivering spark of our luxuriant thought, having made a feast of the world and an infinite pleasure of action. Before dying, it is necessary — as Emerson said — to feel everything become familiar to us, every event useful, every day holy, every person divine. Then? “Then comes the nausea, the repugnance, the loathing,” says Bruno Filippi, and then one “dares” and daring one goes with a calm and bright spirit toward the silent realm of Death where the mind is disperses in the vast stillness of the Void and matter decomposes in order to live another type of unknown life in the atoms. But for us even Death should be a vigorous manifestation of Life, Art and Beauty!

The Hero of Life goes toward Death accompanied by the tragically triumphal march of dynamite and the head encircled with flowers. Yes, anyone who has desired and been able to live as Rebel and Hero wants the freedom to burn in a beautiful blaze ignited by the greatest sin so that the prelude to death is nothing but a sweet and melancholy poem kissing a red dawn where the voice of Orpheus blends with the sobs of Prometheus and the roaring, bacchic laughter of Dionysus resounds.

I admire Corrado Brando [A character from a novel by Gabrielle D’Annunzio.] with iconoclastic enthusiasm and atheistic religiosity even if his creator has not known how to die in time and has allowed the long rain of time to fall on his mind miraculously consuming and withering it; even though it was necessary to get drunk on the virgin and dangerous zarathustrian fountains gushing from the dizzying peaks of the merry and playful nietzschian solitude; even if the shitty little Catos [The Roman orator, Cato, was known for his rigid moralism.] of that putrid Thais, of the hateful Circe called Morality, flee in horror before him. Because Corrado Brando did not glorify crime as the fat and skinny idiots claim, but — with appropriate marks of the tragic art — the efficacy and dignity of crime conceived as promethean virtue are manifested. But while I admire this vigorous creature who blossomed luxuriously through the pagan mystery of the homerically tragic art that, as a symbol of sublime heroic beauty, exalts itself above the sky of Shadow and of Night as the fatal announcement of a brilliant dawn of blood, fire and light, I see “the anarchic individual” standing out from the gray twilight of reality, “he who obeys only his own law” in order to open the passage with bomb explosions” and live life crying like the god of the rynerian parable: “I love you and freely desire you, oh my Necessity!” It is Bruno Filippi! Spirit has made itself Thought, Thought has made itself Flesh in order to reappear as symbol. The tragic Hero of action has made himself the artist of Life in order to transmute himself into the Poet of the deed, as strong and implacable as the fatality of Destiny. Like the D’Annunzian Hero. He too said with his action: “The proof of my dignity is in the invisible miracle.” And just as in Corrado Brando, the intoxication of the will had accumulated in him as a Dionysian frenzy. Like the protagonist of More Than Love, he also teaches us the fury and the whirlwind, because in him as well “the tempest raised all the forces of the soul and, tossing them about, it slammed them against a solid granite wall.” Like all of the few frantic lovers of Life, he was a heroic poet of the deed who in the destruction of himself and of his Misfortunes created a tragic song to the “triumph of the imperishable will”, to the cult of eternal Joy and Beauty. He offered all the corroding and luminous flames of his ardent, sorrowful and tortured mind. He, Bruno Filippi, in the delirious impulse of his annihilation, wanted to make the most intimate and sublime Sin acknowledge Life. Then he dissolved in the Void, a luminous and wandering voice that remains for us, incessantly whispering: “Dare, dare!” And at the desperately serene cry of this symbolic twenty year old voice, it seems to us that the romantically scented pagan earth smiles at us with a lyrical and amorous smile, saying to us: “hasten destiny and come to rest in my turgid breast, swollen with fruitful seeds.” Since he was a poet, Bruno Filippi heard this voice. He heard it and he answered: “Oh good earth! ... I will come, I will come on the great day and you will welcome me into your arms, good, fragrant earth, and you will make the timid violets blossom on my head.” Now that Bruno Filippi has taken all the roses and thoughts germinated in the vermilion garden of his spring winds into the grave, rejoicing in strength and youth, in will and mystery, “Oh earth, take back this body and recall what was strong for your future labors.” Because I see in Him as well the “necessity of the crime that burdens the resolute man elevating him at last to the titanic condition.”

Who was he? Where was he going?

Fools! And where have you gone? Where are you going?

He was broken while breaking the chains that you, United in a cowardly and hateful way in your manifold quality as dangerous lunatics, riveted logically and morally to his twenty year old rebel wrists in order to crush his Uniqueness, his mystery, because he was incomprehensible to you, precisely as the complicated mind of one who feels complete in himself must be. Bruno Filippi hated. But the forces of Hatred did not crush the powers of Love within Him. He immolated himself in a fruitful embrace with death because he madly loved Life. We have the need and the entitlement to say of him that which was said of the D’Annunzian hero: “That the slaves of the marketplace turn around and remember!”

The Free Art of a Free Spirit

Row after row of those who are more morally than physically chronic consumptives, pinheads, cripples, hunchbacks, blind; horrible faces sculpted by vise, by syphilis, by alcohol.

Whose toothless, yellow, slobbering mouths vomited against my horrible insults.

All the hatred that gurgles in your throat, forming two rivulets of slobber that run down from the corners of your mouth, does not move me from my indifference.

Still you shake your fist, which was trained to toss dung. And you women insult me as well, you in whose womb human sorrow perpetuates itself. You are all vile, vile! Despicable beings, worthy of the whip! Crawling reptiles in search of one filthy crust of bread, dogs who lick the hand of anyone who beats you! Is it for you, really for you, that I must rise up in revolt?

For you, for your children and your mothers?

Carcasses rotting in resignation, worm-eaten mummies of a decadent society, you deceive yourselves. I wouldn’t give the tiniest drop for your cause, nor even waste a cigarette on you.

Go on with your descent into the mud. While you bring yourselves down, I will climb. I will rejoice in seeing the degeneration that makes its way inside you. I rejoice. I rejoice.

Day after day, your forehead recedes, your mouth becomes more sinister. Day after day, the stigmata of putrefaction are noticed under your yellowing skin.

And I laugh, I laugh!

What a joy to be present at the collapse of a world, to see blood, corpses, rot everywhere!

Meanwhile the bourgeoisie and the people deceive each other and slaughter each other.

I am here, amused by all this bustling about.

Here a Kaiser, there a Wilson and everywhere people who moan and don’t rise up.

Into the mud, reptile!

I do not want to unite with the multitude of those who flatter the proletariat, excusing them, praising them, adorning them with wreathes. No, oh distinguished windbags, your verve disguises nothing. The “people” is always there, idiotic, cowardly, resigned. And I, who consider myself superior, desire to be so, and both the bourgeoisie and the proletariat will pay for my superiority. You languish in hunger and hardships, you vegetate, bestially fertilizing wombs with a swarm of ragged, filthy, scrofulous, stunted brats.

Force! You raise your cowardly lament in chorus! You say that you are hungry. You stretch out your hand in front of the shop window full of jewels. Do it, take it! You complain to each other about the war when you yourselves are its authors, and it continues because you put up with it! But I flee from your putridity that would sully me. Proudly alone, I break the chains that link me to you and separate myself from the pack of mangy dogs, submissive to the shepherd. I will wander the world alone carrying my hatred and scorn everywhere. Alone in struggle. A one in victory and in defeat. My ideas will be the poison that must end up intoxicating you and you tremble before me as before the King, the supreme!...

And meanwhile, I laugh at your grotesque and bloody throng, I laugh so much that I no longer see anyone, and it seems to me that humanity is an immense gangrenous sore that perpetually disgorges thick putrescent pus. And this sore is moved, shaken, covered with scabs that later disappear in order to make way for another disgorging of putrescent matter.

And I laugh and laugh!...