Nora’s Stele, Santu Jacci’s Column, Strisáili’s Jug, Dueno’s Vase, by Salvatore Dedola
English edition, 2021
By abusing dialectical tools, too many people are using the oxymoron "thunderous silence"
as well as its opposite "silent noise". Forgive me, please, if I continue in abusing of the
commonplace, but on this Stele there has always been a "mute crash", in the sense they
have strummed so much on it, to induce only deafness among the various intellectuals still
willing to understand: inevitable was the consequent silence.
To be clear, in Sardinia we are in the same feastal noise evoked by an old Neapolitan
song, which tells of "Pignataro’s band who played Parsifal... In the midst of a very huge
crowd, in the overwhelming finale, people “smoked” Zazà (a very beautiful woman)...
Where is Zazà…, O my Madonna…, where is Zazà without Isaiah...".
It is precisely in a very riotous time the atmosphere of crime arises and improves itself.
The perfect murder is made during the noisy crowded carnival masquerades, such as the
Cagliari’s Ratantìra. In the indistinct twilight, among the dirty trails left by the uproaring
brigade, there is by chance a dead man...
It’s the Stele of Nora!
From the "mute crash" following that crime, nothing will arise as proof. The investigators'
authority is outclassed by fake news, and "anyone comes to make wood on the dead tree",
free of charge, without paying duty. Needless to say, when authority leaves a "strategic
vacuum", any Sherlock Holmes can feel himself indispensable to the investigation, without
guaranteeing any moderation, without the care that every experienced detective should
have so the perfect case does not melt into perfect chaos.
This is the stage where two books are relating to us about the "suicide Stele". No book
comes from University, each one has no "imprimatur". And it’s on those books, for lack of
anything better, that now I, me, am called to investigate. We will soon find out if it’s a
dustbin or a Sachertorte, as it should hopefully be clear from the discussion of the texts.