La sua maestria di narratore del mare e dell'animo umano si esprime incredibilmente con un linguaggio che altri grandi scrittori inglesi gli invidiavano, a lui, polacco di nascita e di lingua: Nutro la strana e irresistibile sensazione ch'essa sia sempre stata una parte inerente di me stesso". Introduzione di Filippo La Porta.
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Whom do they warn? No, they go to thepolice chief. Then, from there, they call the mayor. The mayor gets in his Seicento [car] and runs to the Prefect, and one sees right away that the dramatic situation fails; it becomes a sketch of local life that might have some amusing aspects to it, maybe some quaint, folkloristic elements, but no dramatic force.
Worlds of “Un-knowledge”: Dystopian Patterns in Primo Levi’s Short Stories
By the s, however, presses specializing in sf and enthusiastic about publishing Italian authors emerged; a number of these presses continue today, such as the mid-sized Nord, Fanucci, Armenia, and Elara formerly Libra and then Perseo , followed by smaller ones that appeared in the s, such as ShaKe and Solfanelli. In the s, Delos a small publisher with a good distribution and a number of presses that sell their books primarily online have emerged: Few of the books coming from these publishers, however, are known internationally. The current predicament of sf publishing, moreover, is such that the priority for presses, magazines, and series is survival, not exporting Italian sf abroad.
The international networks of organized fandom have also played a role in the sporadic cases of Italian sf translated into English. Last but not least, one has to wonder whether the English-language publishing industry has a real interest in the sf produced in non-English speaking countries including Italy: The lack of academic interest in sf in Italy also contributes to the low profile of Italian sf.
There have, however, been lights in this darkness. Carlo Pagetti, Professor of English literature at the University of Milan, was an early and regular contributor to SFS and later a consultant with SFS ; author and scholar Nicoletta Vallorani teaches sf at the University of Milan; scholar Daniela Guardamagna has published on dystopia; and there have been other academics who have occasionally published on and taught sf, such as Alessandro Portelli and Armando Gnisci at the Sapienza University of Rome; Vita Fortunati and Raffaella Baccolini in Bologna; and a few more from different fields.
In , Italy hosted an international conference at the University of Palermo that was a milestone of sf theory and scholarship, the proceedings of which were published in by the mainstream press Feltrinelli. The late s and early s was a time when sales of sf were at their peak and several specialized publishing houses managed to thrive; it was a time when sf promised to be the cutting edge of literary innovation. There were magazines such as Robot that hosted non-academic critical endeavors and sometimes heated debates about the genre, its nature, its borderlines, and its perspectives; and there were figures—such as Carlo Pagetti—who strove to bridge the gap between academic and non-academic criticism by writing important introductions to Italian editions of fundamental sf works e.
Yet even with all this impetus in the s and s, sf remained a generally neglected field in Italian Studies, cultivated more often by the americanisti and anglisti [scholars of American and English literature] than by the italianisti [scholars of Italian literature]. It is not surprising, then, that two of the editors of this special issue Rossi and Proietti earned their degrees as American Studies scholars.
Even though crime fiction has recently entered the academic arena of the italianisti due in part to the staggering success, at home and abroad, of the Italian giallo [crime fiction] , Italian fantascienza remains a little known, seldom studied, and rarely taught form of literature in Italy; it fares better in the US and UK, but only slightly.
As Galileo is said to have pronounced during his trial for heresy, however, eppur si muove: This special issue confirms that, unearthing what lies behind the Italian event horizon: Their reflections convey a full range of reactions: The following two articles explore recent Italian sf. Luca Somigli tackles Black Flag , a novel by the most popular sf author between and , Valerio Evangelisti.
As Brioni shows, Brizzi tries to come to terms with Italian colonialism, this oft-neglected page of Italian history, and while doing so articulates a multilayered analysis and criticism of Silvio Berlusconi and his impact on Italian society. Even though many specimens of Italian cinematic sf belong to the humbly glorious category of B-movies, many have been released abroad and are easily available with subtitles in our digital era.
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Perhaps it is not a coincidence, then, that the two essays we have included on Italian sf cinema have been written by US scholars, Robert Rushing and Eliot Chayt. Chayt revisits films of the late s and early s in which the discontents of Italian culture after the Boom are anamorphically represented in an sf context with an artistic stance that runs parallel to the mythical approach chosen by such major filmmakers as Federico Fellini and Pier Paolo Pasolini. While the picture of sf in Italy, past and present, offered by the contributions to this issue is rich, it is, inevitably, far from complete.
There are numerous authors, novels, stories, and films that deserve critical attention in English as well as in Italian that could have been included in this special issue had there been the time and space. We look forward to seeing continued work from Giulia Iannuzzi on the history of publishing Italian sf; work on the masterful alternate history by Guido Morselli Past Conditional ; studies on the multifarious authors-translators-editors Vittorio Curtoni and Gianni Montanari and the important role they played in a crucial decade of Italian sf, the s; discussion of Tullio Avoledo, who has written sf sold as mainstream fiction by a major non-specialized publishing house, Einaudi; investigations into the sf collectives of the last decade such as the Connettivisti and Kai Zen; and so on.
There are a great many other questions worth exploring: Italian comics also deserve attention, as there have been several Italian stars of sequential art who have produced excellent sf works or series, such as Tanino Liberatore and Stefano Tamburini, whose RanXerox was also published in the US by Heavy Metal magazine. This special issue is, of course, only a beginning, but an auspicious beginning as it marks the first time a special issue on Italian sf has been published in a US academic journal. Soon, Saiber and Giuseppe Lippi current editor of Urania will further help open up Italian sf to international readers and scholars with the first anthology in English devoted to Italian sf from Wesleyan University Press.
The cat is out of the bag, or rather, its black hole.
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We should add that, until the mids, cuts were made not just in Urania but also in the other newsstand series published by Mondadori: This is translated from a s interview on Italian television with Carlo Fruttero. The video of this interview was on the website Fantascienza. The interview has been reposted, in part, at Salonelibro. The majority of the part translated is at 2: We thank Silvio Sosio, the president of Delos Books and Delos Digital, for having kindly provided us with data about their sales in an exchange on 17 Apr. We would also like to express our immense gratitude to Sherryl Vint for her superb editorial know-how and the other extraordinary editors at SFS for making this project possible.
I guerrieri del Bronx [ Deaf International Film, Riviste, autori, dibattiti, dagli anni Cinquanta agli anni Settanta. La decima vittima [The Tenth Victim]. Marcello Mastroianni, Ursula Andress. Compagnia Cinematografica Champion, Ubaldo Ragona and Sidney Salkow. Email to Umberto Rossi. Vittorio Cecchi Gori, La fantascienza e la critica: Testi del convegno internazionale di Palermo. The Fiction of Italian Science Fiction. Terrore nello spazio [Planet of the Vampires]. Barry Sullivan, Norma Bengell. Italian International Film, The final caption concludes, in Roman vernacular: Italy is a nation that imagines itself as a community that has seen the future and knows it will not work.
Evidently, though, both strategies have been deemed inadequate to the task: Italy was unified only between , and internal regional boundaries especially the North-South divide remained so strong that one could think of it as a multicultural society, which many resisted xenophobia is now rampant. Adorno-inspired jeremiads against modern barbarism and the closing of the Italian mind have flowed steadily in the last sixty years, coming from all areas of the cultural arena.
Can there be sf in a cultural milieu overwhelmed by an aesthetic rejection of storytelling and by the longing for a lost Gemeinschaft? This has been and is the challenge for sf writers in Italy. Italy is today in part a very modern, industrialized country, with a high level of prosperity, in part an archaic, immobile, very poor country We have within our grasp Detroit and Calcutta, everything mixed together, North and South, advanced technology and depressed areas, and the most diverse ideologies coexist, contaminate, and cling to each other.
This exclusionary gatekeeping was broken in the s by venues edited by competent connoisseurs, and from this point until around Italian readers had access to a comprehensive range of translated sf. Still, an opportunity had been missed, and niche markets were never fully able to counter the cloak of invisibility imposed by holders of cultural capital.
Cosmopolitanism was among the stakes in one of the most spirited polemics in the magazine Robot , in which a young writer denounced the lingering ruralism of many Italian stories, especially when authors tried to gesture towards the mainstream see Giambalvo: In the formative decades, American Studies, not Italian, was the discipline paying the closest attention to sf. This is my aim in this overview: At the turn of the century, most sf classics not only Jules Verne and H.
Rider Haggard were available in Italian. If a strand of high literature discovered the Gothic see Foni , it was popular writing that addressed the expanding readership and its interest in science and utopianism. Around a hugely successful tradition of exotic adventure tales not free of Orientalism, but driven by genuine fascination for the international , there were important attempts at sf. The most optimistic author was Ulisse Grifoni, in whose works humanity reached Mars and established socialism. Luigi Motta, Yambo also a film director and journalist , and Calogero Ciancimino provided numerous future wars, inventions, and mad scientists.
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Such publications continued during fascism, which opposed proposals for sf magazines see the de Turris anthology , while a previously prolific sf film industry stopped abruptly see Bertetti. In this period critic Sergio Solmi, a friend and collaborator of Calvino, wrote about sf as contemporary folklore, successor to early-modern chanson de geste. Johannis , cover-artist Kurt Caesar, and hard-boiled crime writer Franco Enna. In Monicelli persuaded one of the largest publishers to start Urania , a newsstand series of what he called fantascienza , a term that began to be used by other series as well.
The early Urania was frequently idiosyncratic and demonstrated a paternalistic view of the Italian audience. Still, both Urania and its main rival Cosmo Ponzoni published some strong works, and although most Italians used foreign-sounding aliases, using pseudonyms is not unique to Italian sf. Numerous Atlantis novels e. Among space-opera authors, Luigi Naviglio appeared worried about a crisis of masculinity, which only interplanetary adventure could revitalize; his Estinzione uomo [Extinction: Man] presented a dystopian, women-dominated world. Her self-conscious, almost recursive I giorni di Uskad [Uskad Days, ] is the best among her many alien scenarios.
In this period new magazines began to publish Italians without pseudonyms and a school of short-story writers developed. Hard sf by writers such as Giovanna Cecchini, Cesare Falessi, Ivo Prandin, Gianni Vicario, and above all Lino Aldani dominated the fiction section of the aerospace magazine Oltre il cielo Beyond the Sky, , but this work was often far from triumphalist about space exploration. Meanwhile, the magazine Futuro and the anthology series Interplanet bridged sf and literary publishing, an effort later shared by the magazine Gamma.
Over almost fifty years, he gave opportunities to new writers at home and abroad as an editor and as liaison with European markets especially France and Eastern Europe: In the near future of Quando le radici [When the Roots, ], generally considered his masterpiece, the drop-out protagonist must choose between alienating factory work and a bucolic community in his hometown in the valley south of Milan.
Finding stagnation as unsatisfactory as techno-degradation, he joins a Gypsy group to reconcile rejection of bourgeois life with a longing for the unknown. Later novels are La croce di ghiaccio [The Ice Cross, ], an alien anthropology explored through the communication efforts of a dissenting priest, and Themoro Korik , an investigation into the secrets of a Roma community.
In this decade a new generation of writers, inspired by the Italian edition of Galaxy , discovered dystopian and social sf. A smaller number of writers wrote with absurdist twists. The most popular satirist emerging in the s was computer scientist and futurist Roberto Vacca, one of the few believers in sf as prediction and in the need for a technocratic elite, whose nonfiction The Coming Dark Age was widely read in the US.