When the (good) fiction can describe reality
Today we risk drowning in fiction, in its despotic invasiveness. Everything must inexorably like her (politics, news, emergency social, legal proceedings ...), else in the society of communication does not 'go', do not pit the video (or page). But if this is the tendency, or rather the compulsion, Dell 'era, at least it is good fiction, made from rhetoric wisdom, intellectual honesty, craftsmanship. I think the great American tradition of New Journalism (celebrated 35 years ago by Tom Wolfe in a polemical manifesto), which arises from a fundamental intuition: the reality needs to be made stage. Otherwise it is dull, lifeless. And to stage it should not so much embellished by adjectives and metaphors, or make it "intriguing" as master techniques and strategies of the narrative. The red line that separates the bad literature (disguised as information) from an honest and imaginative narrative journalism is fine. Highlights some recent Italian books which seem to me exemplary, "The Gorgo" Gianfranco Bettin, painful, shiny immersion in the heart of darkness of the North-East, is worthy of "In Cold Blood." In the "Power of Rome" by Claudio Cerasa are at least two memorable characters, taken from reality: a taxi driver full of tattoos and the director of a rowing club where you decide political appointments in the country. A penetrating look from 'top of town (on the corridors of power), which contrasts with the report by Andrea Carraro "From Rome to Rome' gaze from below, at the height of the street, with benches and devices for daily survival. How to widen the thin red line separating quality representative and spectacular compulsory? I believe that behind the 'story', although necessary, should really not be the 'obsession with the humble but will entertain (and personal talent) to tell the truth - in the most effective - on any event or situation or experience.
Filippo La Porta
24/12/2009
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