Zero Zero Zero (I narratori) (Italian Edition) Reviews

Roberto Saviano seven years later: Exit Zero Zero Zero Zero Zero ZeroRecensione, the new dense volume of Roberto Saviano on the vicissitudes of the global drug trade: the problems of the revival style of Gomorrah.


Zero Zero Zero is the new work by Roberto Saviano: a mixture of fierce global report on trafficking of cocaine, an overlap between investigation and narration that replicates the experiment that led to the success with Saviano Gomorrah.

Gomorrah came at a time in our country's history of great social and cultural change, the effects of which, probably, we are still processing.

It is a text that tells better than others, in fact, a great time to return traumatic life common to reality: there had been a few years ago on September 11, the collapse of the establishment economy was coming and everything was set up because the society live a healthy bath in the Real, as he told us Saviano, persisted in to remove.

The things we told Saviano, if they were known, were not enough to be really known. The success of Gomorrah is the alienation that created the record in turning something that the reader could perceive and live, reacting. The fact is, then, that Gomorrah is inserted into a space between the chronicle of a newspaper removed and a text from literary procedures of hard coding: there has always been at the center of the ego of the author.

It is an important fact because the narrator of Saviano, unlike, for example, the texts of Walter Sites, is a lyrical, confessional, and that I also found in Zero Zero Zero:

"I wonder in years to serve tell of deaths and shootings. All this worth it? (...) They'll give you the scepter of hero for a few months, you will earn if someone read your words? I hate those that have spoken before you, ignored? "(P. 95)

This 'I' certainly seems like a lever on the success of Gomorrah, which by the public to identify and empathize with the protagonist has slowly pulled the figure of Saviano's life from his degree in philosophy and turned it into not only a writer of success, but a figure of witnesses, the weight of which it would be difficult for anyone to take, and whose image is very difficult to manage, in the media. If you add, moreover, the known condition of segregation Saviano, you can contextualize well the conditions that led to the drafting of Zero Zero Zero.


Detail of the cover of Zero Zero Zero
The text takes the formula of Gomorrah, mixing long (sometimes very long) excerpts of record that you follow a number of names and facts that the Italian reader may have difficulty following, to the remoteness of the context: in the pages and pages' author traces the history of Colombian and Mexican cartels mafia, reconstructing sparse style halfway between the police report and press reporting the facts of power that led to the control of cocaine in Latin America, then moving in Calabria and in Russia, carrying out the main thesis that cocaine is the most flexible and profitable commodity in the world.

The suggestion by the American novel is something that should be emphasized. Saviano seems to borrow from authors such as Don de Lillo this charm to penetrate the goods imagination: almost in the center of the book is a kind of poetry-list of all the names of cocaine, seen as a kind of post-Mab quean post-modern. The wording chosen by the parties unless explicitly and more fictional chronicle of this composite text is often explicit and perhaps annoyingly assertive. You hear with clarity the relationship neurotic author with writing: not for nothing that the book begins with a simple (well played by Toni Servillo recently) five pages of possible addicted to cocaine.

Zero Zero Zero is short, as it was Gomorrah, a work by fine performances, the purpose of which is, explicitly, strike the reader telling something raw and hidden. The fact, therefore, that most stands out compared to a novel real is that the shape, style, do not come consistently from the structure of the narrative, but there is overlap. As a result, the exact opposite, for example, a realist narrative, the implicit subtext that anything that is told to be 'shown' as it is really explicit in its traumatic reality.

The prose Saviano therefore fluctuates dramatically between these three dimensions, the confessional, that the drive to show the facts and the merely chronicle. What seems to happen is the obsessive repeat traumatic effect sought in the first book, so in the continuous engagement of different styles gives the impression of a continuous 'suspension' of reality, the idea that the word should turn of events in order to show to as they really are.

We see here the paradox: the traumatic reality to appear to be 'shown' as such, because otherwise it would be a mere chronicle. Well understood: what you shoot in the book is really creepy and prose text in many places is quite good, although it is a bit 'impossible to say whether the effect of estrangement that the book will be the same. In fact, a construction of gender, the narrative structure of carrier is assigned to current events, implies that the stylistic procedures, not welded for choice with implantation of the story, the success of the work rely on factors external to the text: the posture of the player with events taking place (this is a book made for an audience 'world' and the facts are less 'perturbantemente' family), the possibility of self Saviano (much less in the new book) to grip the consciousness of the reader, given the status now changed, the public persona of the writer.


Roberto Saviano's transmission "What (not) I"
Are all these external factors inherent to the nature of the book 'performance' (the rest is not a coincidence that Gomorrah Zero Zero Zero on the cover have two strong reminders of contemporary art) and, to a mixture of excerpts of stories and prose narrative and stylistic waiver in fact one of the main axes on which the story: that consistency inventio, the fact that when we invent a story, the style is contiguous expression of this invention and not a simple superposition.

The nature evenemential, that is linked to circumstances in which it was published Gomorrah is, moreover, the origin of the same symbolic process that led the writer to a complex role in the media and that probably has substantially hindered his literary journey. The moment of the Royal traumatic event-represented Gomorrah has caused a number of consequences for its author-character, fitting as the protagonist in the book, he tied his life and his image, the symbolic mechanism triggered by himself.

And so it becomes, too, the protagonist (and in a sense a little 'victim) of the process media due to Gomorrah, making it perhaps more difficult the elaboration of its capacity necessary to a writer in order to grow. Zero Zero Zero will be successful to the extent that succeeds in its intent of complaint, to recreate the conditions of the first text, which is not impossible but difficult, since what happened the first time it was exactly the reverse: Saviano-author was dragged from Saviano-character in a symbolic process larger than the exchange and social media, which has changed my life, making it more difficult for the author to dominate, as well as his daily life, his media image, even his literary skills.

Perhaps the best thing to do for the author would be to avoid giving her such a figure symbolic weight, thus exposing its indisputable great merits to the blackmail of having to replicate stubbornly an aesthetic effect that, as with any book, it is always unique.