Marco Videtta , said writer, and author Northeast (Ed. E / O) Massimo Carlotto, has recently published a wonderful novel, "A bell'avvenire" (Ed. E / O). After meeting him at the end of the Award Azzeccagarbugli 2009, we had this chat, which will carry over.
At Roma 
Anzo I ask you to make me think about the time that we live. A narrator is aware of its role or witness of the times. This is why I really enjoyed this novel. A novel that recounts the genesis of our republic, from the end of the fascist regime, and the Italians who, after all, be all now, crabs are not changed. If today, politically, as we are, it's because we were so. This is the general feeling. What do you think?
I totally agree and it is this thinking that prompted me to inquire about our recent past, especially on a crucial moment in our history: the transition from fascism to republic, enshrined in the 1948 election. A historic transition, in which no There was transparency. Within the institutions (police, judiciary) many former fascists with serious responsibilities to shoulder, were even invited to recycle. This happened to a precise political will because the world had already slipped into the Cold War and our country was negated by internal and external forces, the opportunity to complete autodir termination. The republic has begun to lose its sense of truth and since then there has finally given up after the massacre of Piazza Fontana on.
Fulvio is the speaking voice of the book, and has been growing in the myth of his older brother, who has
dragged the first to embrace fascism (the Idea Revolution ..) and then to enlist volunteered to go to war. Where did the idea to write this story?
The novel was born from a true story, which is that of my family on which hung the taboo of a fascist Republican uncle, who died in mysterious circumstances in the days immediately following the release of April 25 '45. I dug deep on this taboo, coming into possession of documents of the process the band Koch, a notorious Italian SS division. The acts of this process, which was celebrated in 1944 and then in the middle of the Social Republic, are still kept secret in part. About truth and transparency: why records concerning the events of 65 years ago are still forbidden to public inspection?
rakes, the fight against the Partisans, until September 8, the armistice, the confused ion, the tragedy. Fulvio
is a fascist not at all repentant, with a sense of defeat, injustice. An awkward, difficult. How have you been working?
It was not easy trying to identify with a character steeped in ideology completely away from me and what I am. The key I think it was his youth and naivety of the protagonist, a former enthusiastic disappointed and buffeted by events. Fulvio is a guy who was carried away and that when he finally asks questions that burst out from its and a deep emotional suffering, stumbles into an abyss of half-truths, ambiguity in characters who are their means of survival. When she finally manages to find the truth about his brother's death, he realizes that his effort did not do anything, that the problem lies elsewhere. In this sense, I think "A bell'avvenire" is not only a noir with historical background, a Bildungsroman. The protagonist grows in awareness, paying the price for a bitter disappointment, the past and the future.
murky atmosphere, pettiness, opportunism, self laundering: all very Italian?
I would say that every country has its dark side. Just think of the former Nazi riciclatisi in institutions and bureaucracy of the two post-war Germany. O never revealed the secrets of the countries that have ruled the world for the last sixty years, as the U.S. and the former Soviet Union. Political killings and serious destabilizing are still shrouded in mystery. It seems that all great changes have been polluted and diverted by political and economic interests more or less hidden. Italy has shown a particular talent for opportunism and sycophancy, characteristics that lie at the roots of the nation's history, starting with f orte of the Catholic Church meddling in politics.
This is your first solo novel. By Massimo Carlotto you wrote the beautiful "Northeast".
Can you describe what a writer to change between working solo and duet writing?
By Carlotto have worked in perfect harmony, by adopting a working method similar to the movie script: long discussions guided by a genuine dialectic, to the achievement of a common narrative structure. Conversely, the writing leaves you alone of course all the possible margin of freedom, it's you and you alone are the operator. But involve yourself in a dive from which it is very hard surfacing. Personally I love the collaborative work and for my personality, it is important to alternate with that alone.
"The writer must tell the thousands of alternative stories that we tell every day," said more or less the Wu Ming. What do you think?
Especially a writer has to tell what he knows very well, can not bluff, otherwise the reader feels immediately reeks of hoax. As to Wu Ming, I admire their work, especially "Q", and I agree that the literature now in Italy, aims to "create awareness," where there's other media tend in principle to blur.
What are you working now?
I am currently working on television adaptation of a French mystery and one of my cartoon, which is an area of \u200b\u200bgreat creative freedom. Then I remembered a rather challenging writing project that I'm afraid I will take a long time. Finally, do not rule out a new collaboration with Carlotto.
An author or a book you love to distraction.
"Underworld" by Don DeLillo, "Blindness" by Saramago, and of course almost the entire production of Massimo Carlotto.
What are the first things I remember reading from your baby, and you have attracted?
I think I started reading novels in middle school. I had a professor tostissimo we imposed the classroom library and reading at least one book a month. I do not remember which was the first that I read. But certainly I was struck by "The Invisible Man" by HG Wells and "Treasure Island".
The first thing you wrote and you did read it to someone, and what you have said.
In high school I always went to the movies on a notebook and writing "my" reviews. An 
by on for years and a notebook that I presented myself at the university to ask for the thesis. The beauty is that the professor read it and was enthusiastic. I wrote the thesis that became an essay titled "The escape impossible." The topic was the myth of the journey in literature and American cinema, which they say has been read by many Italian filmmakers. I'm very proud, especially since I was 22 years, more or less the age at which Fulvio, the protagonist of "A bell'avvenire", he volunteered for Russia ...
What music do you listen? And while you write?
I'm a big music fan. Not a day that does not listen. I have a predilection for the English rock, black music and jazz 60s. And may I add that I do on guitar and vocals the entire repertoire of the Beatles ... I love too much music to use as a background. I tend to separate the writing of my favorites from listening. Only at particular times to loop a song especially in consonance with what I write, to wrap myself in a "frame sound "that I isolated from the rest of the world.
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