Chat met auteur Sandro Veronesi
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Dear Mr Veronesi,
I loved your book Caos Calme: the story but also the special sentences like: time is not a palindrome, Laocoonistic traffic in Rome, drunk of the day she threw snowballs, etc
Loved it as much as the movie La meglio Gioventu and La vita e bella.
In each of these stories there is a young father, separated from his beloved wife, who should support their only - and also very loved - child but throughout a beautiful story it is each time the child that helps the father to overcome his viduity.
I saw these similarities in the relation between Pietro and Claudia, between Nicola Carati and his daughter Sara in La meglio Gioventu and between Guido and his son Joshua in La Vita e bella.
Can you agree on that? Is it typical Italian or just a coincidence?
Grazie, Filip De Troij -
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Dear Mr Veronesi,
Last but not least question, that I have after reading your book.
Why does Pietro ask for Lara in the last sentence of your book? Does he not believe she's dead? And what about the ball that was thrown in the park, second last sentence?
Dank u, Filip. -
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yesterday at Passa Porta you described the manipulating discourse of an unreliable person like Pietro (or Berlusconi, or Obama) as a body that tries to take over other bodies. can you clear this out? has this something to do with the fusion-theme in Caos Calmo?
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Of course, in a symbolic way. But if we enter the subject of symbolic reading, we really don't have enough time to develop it. What I was trying to say is that telling stories becomes (or can become at least) a physical matter. A voice means a body. That's why I like reading so much: because I feel someone else's body.
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Could you compare the opening scene to a MacGuffin? Not that you tricked us into the story, but still It looked like you tried to distract us: "something terrible almost happened", right before something terrible actually happens. It's the most powerful opening scene I've ever read.
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