Editing Pier Paolo Pasolini (section)

=== Writing ===
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In 1954, Pasolini, who now worked for the literary section of Cinecittà, left his teaching job and moved to the Monteverde quarter. At this point, his cousin Graziella moved in. They also accommodated Pasolini's ailing, [[Cirrhosis|cirrhotic]] father Carlo Alberto, who died in 1958. Pasolini published ''La meglio gioventù'', his first important collection of Friulan poems. His first novel, ''[[Ragazzi di vita]]'' (English: ''Hustlers''), which dealt with the Roman [[lumpenproletariat]], was published in 1955. The work had great success but was poorly received by the [[Italian Communist Party]] (PCI) establishment and, most importantly, by the Italian government. It initiated a lawsuit for "[[obscenity]]" against Pasolini and his publisher, [[Garzanti]].<ref>Martelini, L. 2006, p. 62</ref> Although exonerated, Pasolini became a target of insinuations, especially in the [[tabloid press]].

In 1955, together with [[Francesco Leonetti]], [[Roberto Roversi]] and others, Pasolini edited and published a poetry magazine called ''Officina''. The magazine closed in 1959 after fourteen issues. That year he also published his second novel, ''Una vita violenta'', which unlike his first was embraced by the Communist cultural sphere: he subsequently wrote a column titled ''Dialoghi con Passolini'' (meaning ''Passolini in Dialogue''), for the PCI magazine ''[[Vie Nuove]]'' from May 1960 to September 1965,<ref>{{cite book|author=Robert Samuel Clive Gordon|title=Pasolini: Forms of Subjectivity|url=https://books.google.com/books?id=mD2SNnKlK5sC&pg=PA47|year=1996|publisher=Clarendon Press|isbn=978-0-19-815905-6|page=47}}</ref> which were published in book form in 1977 as ''Le belle bandiere'' (''The Beautiful Flags'').<ref name="jacobin"/> In the late 1960s Pasolini edited an [[advice column]] in the weekly news magazine ''[[Tempo (Italian magazine)|Tempo]]''.<ref>{{cite book|author=Emma Baron|chapter=Dear Intellectual: The Cultural Advice Columns |title=Popular High Culture in Italian Media, 1950–1970|year=2018|publisher=Palgrave Macmillan|location=Cham, Switzerland|isbn=978-3-319-90963-9|page=55|doi=10.1007/978-3-319-90963-9_3 |chapter-url=https://doi.org/10.1007/978-3-319-90963-9_3}}</ref>

In 1966, Pasolini wrote a screenplay for a never-produced film about the apostle [[Saint Paul]] which he subsequently revised.<ref>{{Cite web |date=15 June 2015 |title=Pasolini and St Paul |url=https://blogs.bl.uk/european/2015/06/pasolini-and-st-paul.html |access-date=2023-01-16 |website=British Library |language=en}}</ref> Pasolini's screenplay was intended to depict Paul as a modern contemporary without modifying any of Paul's statements.<ref>{{Cite book |last=Badiou |first=Alain |url=https://www.worldcat.org/oclc/51093150 |title=Saint Paul : the foundation of universalism |date=2003 |publisher=[[Stanford University Press]] |isbn=0-8047-4470-X |location=Stanford, Calif. |pages=36–37 |oclc=51093150 |author-link=Alain Badiou}}</ref> In Pasolini's story, Paul is a fascist [[Vichy France]] collaborator who becomes illuminated while traveling to [[Francoist Spain|Franco's Spain]] and joins the [[Anti-fascism|antifascist]] [[French resistance]], an event which serves as the modern analogue for the [[Pauline conversion]].<ref>{{Cite book |last=Badiou |first=Alain |url=https://www.worldcat.org/oclc/51093150 |title=Saint Paul : the foundation of universalism |date=2003 |publisher=[[Stanford University Press]] |isbn=0-8047-4470-X |location=Stanford, Calif. |pages=37–38 |oclc=51093150 |author-link=Alain Badiou}}</ref> The screenplay follows Paul as he preaches resistance in Italy, Spain, Germany, and New York (where he is betrayed, arrested, and executed).<ref>{{Cite book |last=Badiou |first=Alain |url=https://www.worldcat.org/oclc/51093150 |title=Saint Paul : the foundation of universalism |date=2003 |publisher=[[Stanford University Press]] |isbn=0-8047-4470-X |location=Stanford, Calif. |pages=38 |oclc=51093150 |author-link=Alain Badiou}}</ref> As philosopher [[Alain Badiou]] writes, "The most surprising thing in all this is the way in which Paul's texts are transplanted unaltered, and with an almost unfathomable naturalness, into the situations in which Pasolini deploys them: war, fascism, American capitalism, the petty debates of Italian intelligentsia[.]"<ref>{{Cite book |last=Badiou |first=Alain |url=https://www.worldcat.org/oclc/51093150 |title=Saint Paul : the foundation of universalism |date=2003 |publisher=[[Stanford University Press]] |isbn=0-8047-4470-X |location=Stanford, Calif. |pages=39 |oclc=51093150 |author-link=Alain Badiou}}</ref>

In 1970, Pasolini bought an old castle near [[Viterbo]], several miles north of Rome, where he began to write his last novel, ''Il Petrolio'', in which he denounced obscure dealing in the highest levels of government and the corporate world ([[Eni]], [[CIA]], [[Sicilian Mafia|the Mafia]], etc.).<ref>Martelini, L. 2006, p. 192</ref> The novel-documentary was left incomplete at his death. In 1972, Pasolini started to collaborate with the far-left organization [[Lotta Continua]], producing a documentary, ''[[12 dicembre]]'', concerning the [[Piazza Fontana bombing]]. The following year he began a collaboration for Italy's most renowned newspaper, ''[[Il Corriere della Sera]]''. At the beginning of 1975 Garzanti published a collection of his critical essays, ''[[Scritti corsari]]'' ('Corsair Writings').