Workbronze2012
Non incoraggiate il romanzo: sulla narrativa italiana
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Abstract
ta, la cui gente è buona, dolce e simpatica […] l'altra disperatamente autentica, plebea, fatta di miseria, di fame, di tuguri, certamente più tragica" (62).His art would tend decidedly toward the latter form of representation.In his pursuit of the real Naples as he understands it to be, Rea looked to antecedents, including Boccaccio, whom he saw as, "il vero interprete della spietata crudezza napoletana, aliena da qualunque pulcinelleria, della Napoli vera, della misera e dell'angosciante caccia al denaro" (85).This viewpoint is based essentially on Rea's reading of the story of Andreuccio da Perugia.Other authors who influenced Rea's writing profoundly are Giambattista Basile, Francesco Mastriani, and Raffaele Viviani.Speaking of the author of Lo cunto dei cunti, Carbone writes: "La lezione basiliana è, per Rea, una delle più efficaci da cui apprendere la vera anima plebea, improntata a superstizione e realismo" (101).Rea finds similarly authentic portrayals of his native city in the short stories and novels of Mastriani and Viviani.In addition to tracing the maturation of Rea's writing through the two decades following the end of World War II, Carbone interweaves her own nuanced analyses with the viewpoints expressed by such critics as Carlo Muscetta, Giorgio Pullini, and Giorgio Barberi-Squarotti.She also navigates artfully among other critics such as Maria Corti, Gérard Genette, and Italo Calvino to produce a richly textured and compelling study of Domenico Rea's work as it dialogues not only with the Italian literary tradition, but also with Neorealism, the nouveau roman, the Neoavanguardia, and the onset of postmodernist culture.
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