Maurizio De Giovanni was born in 1958 in Naples, where he lives and works. In 2005, with a story set in Thirties fascist Naples starring the Commissioner Richards, won the national prize Quick Shot, devoted to emerging crime writers. The same person then becomes the protagonist of a novel published in 2006 by Graus, "Tears of the clown." The same novel was subsequently published by Domenico Procacci's Fandango Books under the title "The sense of pain." They went out then "The condemnation of the blood" and "The place for everyone." Welcome to this blog Maurizio. You have created a character, Commissioner Richards, that readers will love more and more. He inquires about feelings, emotions, the feelings. Is that so? Where does, how he came to life this character?
Ricciardi was born by chance at the cafe Gambrinus, during my participation in a competition launched by Porsche in June of 2005, which was written by a group of friends, their kindness, they had me scheduled for a future within literature. The liberty of the local environment, the oppressive heat, a little girl who passed out in the street and that, feeling watched, I made a face: all small items that they take something inside of me. Not There's nothing autobiographical Ricciardi is not like me, either physically, except perhaps eye color, or psychologically, as I am outgoing and far from silent. It was rather a spark of imagination: maybe I deeply share his perception of pain, his sentence can not turn our backs on suffering, his emotional involvement especially in regard to children and sharing the food with this in a convincing manner, according at least what I tell people who have the goodness to read.
Ricciardi operates dark era. Alone and desperate, is been defined more than once. And his stories read to appreciate re today, time is certainly not bright. Why are "lonely and desperate? Why is appreciated? There is hope in Ricciardi, if it is true that "pain and injustice dominate men"?
Ricciardi is hopelessly alone and so desperate, because he has no choice. Its physical characteristics, inherent in his personality, is in fact that it can not avoid being the last witness emotion, the last passion of those who leave their lives to a violent death. We can change course or channel, we have remote controls, newspapers and gossip, we can pretend that the pain does not exist and we can avoid the thousands of forms that come our way. Here, Ricciardi is just a normal man but without a remote control, is what would happen to anyone of us could not avoid the pain . And this is just to make it in time and a system in which everything must look perfect without being one. Dark age and substantially similar to the one we live in today, at ferent light.
But Ricciardi has a chance: the window. In other words, the possibility, however, denied by him, to share. That's why, in my view, the audience appreciates it: if pain and injustice dominate the men, the way out may be the relationship with the
others. And in my opinion, now as then, the way that this can not be. Each investigator has a respectable second, a fair partner. Holmes had Watson, Adamsberg has Langlard, Montalbano has Fazio. Tell us about him.
Ricciardi told myself that I do not like me at all. Conversely, if I had to choose the character with whom I feel more like, say Maione, a sergeant who acts as his shoulder and protects him from a distance.
That is a big man and eternally at war with the scale, as I am. But above all ll is a simple man, who looks at facts without preconceptions, and disenchantment with concrete and that is why they get the essence. Often does not understand the paths of the mind and soul of Ricciardi, and is constantly worried about him, but one wonders why and follows it, anyway. In affection and loyalty for people who are really great, and I'm very happy with this character.
comes to life as one of your novel? How to write and why do you write?
As many know by now, are very fast in writing of my novels. In fact, the plot born, piece after piece, in my mind, without which I feel the need to put anything in writing. Then, suddenly, the characters begin to pile up and see entire scenes. At this point, I must write. E type or, realizing that many of the events take a completely different path than I had imagined. Basically, I know who died, where and how, who and who killed him may seem that killed him. But once I put the characters on stage, and characterize them, as if I were limited to give him the rope, the direction they take, and I swear that is not a habit, it is absolutely independent of my will. Indeed, sometimes their character is not at all what I had understood him, just like happens as a child.
I often think that a book that tells u na story should be like opening a door to the reader to a place that chooses to go to find something of himself, and put something of himself. Not a room furnished, but an open place, where you can walk, discover, and find out.
I say that my novels have different reading levels, and what pleased me: it is true that for me the characters are and must be in the making, more so I'd like every player who approaches the world Ricciardi of them can grasp the closest to his particular way of being and outlook on life.
"The good comes from women and they too often comes the bad." You said. Tell us about your female characters.
The old story of my stories are the feelings and passions, whose territory, the time of Ricciardi as in any age are women. The female universe, incomprehensible and unknown to the Commissioner, is the necessary path to understanding the genesis of emotion which has caused the crime. The theme of the first novel is the abuse of power and possession, a report he sees often suffered by women, the second novel is based upon the maternal and filial relationship t IPIC female and the third on jealousy, and it seems obvious link this emotion with women. In this sense, the good comes from women and they too often comes the bad.
Coming to my main female characters, Livia is a modern woman, independent and accustomed to getting what he wants without effort, especially in terms of men, but is also a person who has suffered a lot, which has a scale of strongly ties, knows the feeling when called by name the test. He understood that his heart wants a new feeling, and wants to get to the bottom of an emotion strong evidence but can not pigeonhole. Enrique is a girl of her time, sweet and romantic but stubborn and severe. She fell in love in the only way he knows, want a simple and normal life with the man she loves, home, family, children. He feels the thrill of Ricciardi for her, recognizes and understands why things do not evolve according to the conventions that his company has always practical. However, it is determined to do everything the same conventions require it to win her happiness. In reality n uring novels Enrica evolves towards Livia, gaining her the will and the desire to overcome obstacles in the name of his own happiness and Livia evolves towards Enrica developing the desire of well-being and respect for your loved one. But my favorite is Ritucci female character, whose story I had to squeeze into my second novel, "The condemnation of the blood", for editorial reasons and to which I felt obliged to devote to a story that my wife is a of the best things I've ever written (which I had the pleasure of reading, ed.)
"We are losing bits of memory continuously stifled by explosions techniques that encourage us to lose our light weakness. We should not be slaves of comfort. "(Tonino Guerra). What do you think?
Tonino Guerra I read for the first time many years ago and I've never forgotten. His "tell" was so profound and yet so comprehensible and filled with subtle humor, which I did a sort of icon. In this sentence there is everything: the importance of memory, the limits of the so-called progress, the importance of ancestral sentiments. E 'only, to call attention to its simplicity, diff
ondendo poetry and beauty. "Ours is the only one so-called advanced countries in which there is a literary magazine worthy of the name, or a debate public on the major cultural themes. "As we can emerge?
This is my bullet: Since I have achieved a certain notoriety, I always try to bring the discourse on the subject, hoping to engage other writers.
In fact, in Italy most unbridled individualism reigns, even and especially in the cultural sphere. The left, believing the repository of all knowledge, has taken a snobbish, surely the knowledge that separates the nation, while the right was resigned to the image that the left uncultivated the attributes, and seems perfectly at ease in this world of Smurfs , dwarfs and dancers. And it is really a shame, because I think the lack of synergy is the main limitation of this country and my city in particular, shows that this characteristic deteriorates exponentially.
I hope in my small way of being able to do something, trying to involve those who think like me, and given that this historic moment in Naples offers the highest concentration of writers and artists from other Italian cities, are moderately optimistic .
Naples. Your stories could be held elsewhere, or just there?
Naples is a city layered, like an onion. Over time, the ages, it changes only the surface, what you see from the outside, the essence, the deeper reality, remains constant over the basic elements. It depends on a very special topography, unique to a big city: the center is squeezed between sea, mountains and hills, so the population grows in sediment. There is no division between rich and poor districts, the contact is constant and the difficulties of this contact are constantly emerging. The city is boiling like a dark broth in a pot, that is on the bottom and back is what is intended to return to the surface on the bottom. In Naples this is equal to itself, the thirties as the eighties, war as it is today. And my stories might not have another theater, being the result of this constant motion.
What is the role of the writer today?
writer, I do not know. As far as I'm concerned, I do not carry a message: mine is the literature of escape. But I hope to set an example for young people who are about to embark on this journey, never lose hope, not to bow to market forces, maintain a strong territorial and do not consider others as antagonists, but as an opportunity for growth.
Monicelli said it was hard to convince his wife that when he was at the window for hours and hours, he was working. You grow as your imagination?
spend hours and hours at the window, or better on the road, as overlooking a park. But I do not need to convince my wife to the fact that this is the only inspiration I know.
Maurizio De Giovanni is on Facebook
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