The size of the writing has a relationship with the magnitude of the story gives us. So, Camon, peremptory, to explain that the timing of minimalism are far away. He explains: "In the work and life of Joseph Pontiggia (1934-2003) there were ten to fifteen stories: War, war, shortages, boom, communism, consumerism, the end of communism, American empire, the crisis of American domestic terrorism, international terrorism, signs of Islam. But today is talked of stories, plots, plot of, fiction, the importance of narrative in itself, of telling stories. Instead, Camon said, "The situation today is such that one can not listen, to look at the history: as in Fellini's Orchestra Rehearsal, the great wrecking ball knocked on the bearing wall of our building background, we can not look at the hole the threat. At stake is not only a sense of what we write, but also the sense of who we are. " But the story is that of the five days of Milan, the last thirty years of the last century, on which there is more grip? '"The situation today is such that one can not listen to-watch story." We are in an identity crisis. So we, vattimianamente, a "writing weak." So we wonder, because there are important works and writers, for a discussion, and memory? About Ferdinando Camon is very clear: "It is not just a matter of aesthetic success of their work, but also the stability of history in which they live and write, this becomes clearer if we got out that there are more authors, Moravia (1907-1990) [but also Piovene (1907-1974) and Bilenchi (1909-1909) Pavese (1908-1950)] Pratolini (1913-1991), Tobin (1910-1991), Bassani (1916-2000), Volponi (1924-1994), Parise (1929-1986): lived and described a consistent experience, their works form a block. Among the last great writers have this consistency and size of this unit, there are Primo Levi, Rigoni Stern, Fenoglio. Their to-be-always has a price: they were not seen when the point was made on a moment of the literature, five years or a decade. I do not remember a single literary convention which has been called Levi or Rigoni or Tobino or For. The history of Italian literature more widely in our schools, for all la seconda metà del secolo scorso, quella di Natalino Sapegno, per ben 43 edizioni non dedicava una riga a Primo Levi. Non lo vedeva proprio. Non sapeva che esistesse. Sapegno rimediò alla lacuna inserendo Levi con la formula: «È forse il più grande scrittore italiano del secolo». Ma se era il più grande, come faceva a ignorarlo per mezzo secolo?Lo scrittore e l’opera destinata a durate si pone di traverso rispetto alla storia, si confronta con la storia in una dialettica più ampia, scopre valori e li confronta. Lo scrittore di romanzi secondo Camon vive una “crisi di identità” e deve invece avere ben chiaro almeno un elemento: «Sappiamo soltanto una cosa: che dobbiamo capire chi sono [gli scrittori] and let him know who we are. " The game of hide postmodernism is over but we find ourselves in the domain of curriculum, location and post-colonial condition that I have tried talking to venture or Bahatt Saviano: "The news can come from all parts of the horizon, Islam, U.S., China, Third World, Fourth, Eastern Europe, Patagonia, Africa ... More than a biography is upset, the more authoritative. The Nobel this year living in London, but has worked in Zimbabwe and was born in Persia, now Iran: If you cut him off Persia, he takes the Nobel Prize. " Doris Lessing actually have this problem. Remember what you said about glare of the five cubits? Only now, having needed to reward the authors of otherness, we promote those who had lived with the otherness of the times "not suspicious". Once again the prize as an institution explains the devices and the existence of the canon, his profound sense, his being a thermometer, right or wrong, the cultural climate of a period, a snapshot of the climate. I wonder how they stayed in the picture Mariolina and his team? And the thermometer, where we hide it?
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