Bestemmia is a little-known unpublished work by Pier Paolo Pasolini, whose troubled composition extends between 1962 and 1967. In its hybrid genre and form, halfway between poem and screenplay, the author declines the apocryphal and unresolved side of his Franciscanism. Parallel to the elaboration of a notion of underclass holiness, in a genetic proximity and in a strong intertextuality with the most famous movies Accattone and La ricotta, Bestemmia is characterized by a strong metalinguistic connotation. In some digressions, wich interrupt the narration set in an ideal middle Ages and where Pasolini’s Christomimetism merges with the Franciscan poetic and sacred word, the author alludes, in a poetic form, to those reflections that will culminate with the essays of Empirismo eretico.
