I didn't think of those movies while writing. I think that this is a classical theme in literature and not particularly Italian, where the role of fathers is still ancient-style, not particularly focused on taking care of kids.
By the way, hello, I'm here, ready to answer your questions.
Well, Renzi is the first Florentine prime minister I've met in my life. In this sense, he's new. But he is a storyteller too, just like me, just like Mr Berlusconi. The difference is that he's supposed to govern the country. Dante wasn't. And me neither.
Well, after having written and published one month ago the sequel to Caos Calmo, I can say that at the end of the novel, Pietro just finds a way of getting out of the scene. What he says about the ball is wrong, at least for him, even if it can seem a wise thinking. And about Lara, he's just telling he's ready to work through the mourning, but he isn't.
It's not just the matter of being reliable. The matter is of being reliable enough and in this case, we have only his voice. The story we read is his story, told by his voice. Of course, it's not the truth. And I wanted to point out this from the very beginning. It depends on my first choice once I started writing: first person present tense is the less reliable convention in literature. We are in the domain of manipulation. But this doesn't mean Pietro is a liar.
Bingo! Under the light of the new novel, the sequence of the dream and all your hypotheses are the most important part of the whole book.
Because they were close to his wife and to his sister-in-law, and very far from him. And, of course, because I love them. It seems to me that sometimes Radiohead talks from another place, from the realm of the dead.
The eros-thanatos exemplary scene at the beginning is all I can write about eros-thanatos, not so much, but I can say something about the erection.It is the same erection that Arturo Bandini loses in the waves of the Pacific Ocean in a wonderful page of Ask the Dust. The erection travelled around the world through 70 years from sea to sea and hit Pietro Paladini in the placid waters of the Tyranean sea.
Yes. This is the reason I wrote Terre Rare. There were too many obscure parts in Caos Calmo to be allowed to consider it finished. And the fainting scene is also very important, for reasons that are pointed out in the sequel.
Of course. He tries to transform the outside space into an interior space. But he fails. It's just impossible to do that. He should work on a symbolic level, but he doesn't. He relates every single experience to his real life and this couldn't work at all. His love (for his daughter, for Lara, for Marta) is just a symbol of love.
I was really touched by seeing Nanni Moretti playing the role of Pietro.I am fond of Nanni Moretti. But I'm also the author of the novel, and I think my personal opinion of the movie is just too personal. That's the reason I didn't work on the screenplay. In any case, I loved the movie.
Yes, indeed. It was one of the main purposes of the book. I do not give more importance to the characters than to the backdrop. In those years, I felt very clearly that something was going to happen to our "classical" way of life and it happened four years later. It's a prediction, yes.
The truth is that while writing my previous novel, The Force of the Past, a friend of mine lost his wife in a tragical way. I asked a mutual friend about him because I didn't want to bother him (how was he living? how did he feel? etc.) and this mutual friend told me: it's as if he spends the whole day in front of the school of his daughter. As if. After a while, I started seeing in my mind a man, my friend, standing still, in front of a school. The "as if" had disappeared. That was the very moment I started working on Caos Calmo. The car is his attempt, as I said before, to transform external space into an interior space.
It's true. Victor Hugo invented, literally, the modern concept of restoration of monuments. But he never wrote an essay on this subject. He just distributed his precious thoughts in his fiction and poetry works. I collected them, demonstrating that he was the first to write how modern civilization had to behave in front of ancient monuments and artefacts. When we restore a castle now or a palace, we do exactly what he suggested to do.
No. I don't think they read the book. My relationship with Radiohead is just one of a fan.
It happened to me. To me and my brother, exactly like in the book, with two differences: no erection, no death of my wife.
In retrospect, I should say yes. It seems clear. But time goes by one way, and at the time I had no idea of dealing with great amounts of blood as I actually did five years later in XY.
Thank you. What I can add is that Pietro Paladini's way of staying close to his daughter protects him much more than the girl. It's an egotistic behaviour, even if justified by the mourning and the shock.
What I can say is that when I write, I feel I'm struggling against empty spaces and what i find is the correct relationship between human beings and their surrounding space. I think an architect does the same.
Yes, he is. Not so "perfect" in my opinion. But you're right. If you didn't like the novel, this cannot be the reason. He's a negative character appearing as positive, just like hundreds of characters in the literary tradition.
Because the convention I decided to use was first-person present tense and what you're saying is a direct consequence of this choice. I knew and decided a lot of things of my main character but I personally had no space to tell them. Because the story was told in his voice, not mine.
I will. Thanks a lot to all you 4000 plus watchers.
I'll be here until 1 p.m. anyway.
I always keep as a wise suggestion, both in literature and in real life, that we are not supposed to find an explanation for everything, especially for those facts which really struck us.
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.
I don't know. I was just writing, trying to give my best. Of course, a beginning like this brings advantages for the rest of the book. But as I said before, I was just telling an autobiographical episode.
Thank you again for all your questions and comments.