Baby Doll (Fanucci Narrativa) (Italian Edition)

My critical introduction has been reprinted in Carol Ullman, ed. Literary Movements for Students. It includes my general introduction,my entry on Robert Coover, and my comprehensive bibliography. The contents of the volume include 15 overview essays dealing with various topics central to postmodern fiction and over individual author entries, each of which also includes a selected bibliography. Includes my 15 pg. Kodansha, forthcoming, Summer, Black Ice Books, Racconti per una natione che sogna a occhi aperti.

Studies in Contemporary American Fiction. My contributions to the issue include my general introduction, a new interview conducted with Coover for the issue, and a comprehensive bibliography of primary and secondary sources relating to The Public Burning done with Prof. Ly Bell, Brown University. The Review of Contemporary Fiction: August-September and October-November Stephen Wright's 'Get Happy,'" October , pp. The Review of Contemporary Fiction. Includes my interviews with Vollmann pp. Included my 30 pg general introduction, "The Final Measurement.

Studies in Contemporary Fiction. Included my General Introduction. The Cyberpunk Controversy double issue. Included my general introduction, "The Desert of the Real: Introduction to Doug Rice Skin Prayers. Juarez and El Paso: Incuabula Press, forthcoming An Epistolary Drama in Four Acts.

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In Michael Hemmingson, ed. Soft Skull Press, , pp. FC2, , pp ii-xii. For Larry McCaffery, ed. Penguin, , pp ix-xxi. San Diego State University Press, , pp. Found on a Floppy Disc: Fiction Collective, , pp. In Larry McCaffery, ed. Duke University Press, , Donald Barthelme's Snow White. Special Robert Coover Issue 28 June , An expanded versions of this essay appeared as "The Recognitions: Kathy Acker and 'Punk' Aesthetics. Women's Experimental Fiction , ed. Mariam Fuchs and Ellen Friedman. Princeton University Press, , pp. An Innovative Alternative," Chicago Review , 30 , Studies in Contemporary Fiction , forthcoming Fall Die postmoderne Wende in der Rockmusik.

The Making of Contemporary American Fiction, ed. Actes Sud, , pp. Postmodern American Art in the 90s. Special Issue--American Fiction of the s , Fall Fiction in the U. The Cyberpunk Controversy" Mississippi Review In Bernard Bell, ed. Readercon Publications, , pp. Leipzig, forthcoming, Fall Reclam Leipzig, , pp. Alfred Hornung and Ernstpeter Ruhe. Gunter Narr Verlag Tubingen, , pp. University of Colorado Press, , pp.

Heyne Bucher, , pp. Columbia University Press, , pp. Generative Structures in Contemporary Fiction. Slusser, Eric Rabkin, and Robert Scholes. Southern Illinois University Press, pp. Gale Research Company, , pp. Stories from the Fiction Collective. Southern Illinois University Press, , pp. In Dictionary of Literary Biography. Detroit, Gale Research Company, , pp. Poetry and Criticism [Tokyo], 23, 1 December Rock ' Roll Germany , 8, 3 Fall Germany , Fall , PP. A Dialogue with Larry McCaffery. Asahi Shimbun Tokyo, evening edition , 18 July , p. Delany" [Russian translation], Mega 2 Moscow, , pp.

Susan Sontag's Death Trip. Panstwowy Instytut Wydawniczy, , pp. Wilhelm Heyne Verlag, , pp. In La Novela Postmodernista Norteamericana: Nuevas Tendencias Narrativas , ed. Soiceidad General Espanola de Libreria, S. In Literatura Na Swiecie , 4, , In Literatura Na Swiecie , 1, , San Diego Union Book , 7 November , p. Washington Post Book World , 10 July , pp. Los Angeles Times Book Review. Jerzy Kosinski and His Fiction ].

Contemporary Literature , 31, 4 Winter , American Literature , October , Boyle's Greasy Lake and Other Stories ]. Book, Self and Postmodern American Fiction ]. Contemporary Literature , 26, 4 Winter , Contemporary Literature , 18 Spring , Chicago Review , 29 Summer , Fiction in a 'Post-Contemporary Age,'" [Rev.

The Journal of Sports Literature ].

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A Short Guide to Fiction Writing. Riviste, autori, dibattiti, dagli anni Cinquanta agli anni Settanta. La decima vittima [The Tenth Victim]. Marcello Mastroianni, Ursula Andress. Compagnia Cinematografica Champion, Ubaldo Ragona and Sidney Salkow. Email to Umberto Rossi. Vittorio Cecchi Gori, La fantascienza e la critica: Testi del convegno internazionale di Palermo.

The Fiction of Italian Science Fiction. Terrore nello spazio [Planet of the Vampires]. Barry Sullivan, Norma Bengell. Italian International Film, The final caption concludes, in Roman vernacular: Italy is a nation that imagines itself as a community that has seen the future and knows it will not work. Evidently, though, both strategies have been deemed inadequate to the task: Italy was unified only between , and internal regional boundaries especially the North-South divide remained so strong that one could think of it as a multicultural society, which many resisted xenophobia is now rampant.

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Adorno-inspired jeremiads against modern barbarism and the closing of the Italian mind have flowed steadily in the last sixty years, coming from all areas of the cultural arena. Can there be sf in a cultural milieu overwhelmed by an aesthetic rejection of storytelling and by the longing for a lost Gemeinschaft?

This has been and is the challenge for sf writers in Italy. Italy is today in part a very modern, industrialized country, with a high level of prosperity, in part an archaic, immobile, very poor country We have within our grasp Detroit and Calcutta, everything mixed together, North and South, advanced technology and depressed areas, and the most diverse ideologies coexist, contaminate, and cling to each other. This exclusionary gatekeeping was broken in the s by venues edited by competent connoisseurs, and from this point until around Italian readers had access to a comprehensive range of translated sf.

Still, an opportunity had been missed, and niche markets were never fully able to counter the cloak of invisibility imposed by holders of cultural capital. Cosmopolitanism was among the stakes in one of the most spirited polemics in the magazine Robot , in which a young writer denounced the lingering ruralism of many Italian stories, especially when authors tried to gesture towards the mainstream see Giambalvo: In the formative decades, American Studies, not Italian, was the discipline paying the closest attention to sf. This is my aim in this overview: At the turn of the century, most sf classics not only Jules Verne and H.

Rider Haggard were available in Italian. If a strand of high literature discovered the Gothic see Foni , it was popular writing that addressed the expanding readership and its interest in science and utopianism. Around a hugely successful tradition of exotic adventure tales not free of Orientalism, but driven by genuine fascination for the international , there were important attempts at sf. The most optimistic author was Ulisse Grifoni, in whose works humanity reached Mars and established socialism.

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Luigi Motta, Yambo also a film director and journalist , and Calogero Ciancimino provided numerous future wars, inventions, and mad scientists. Such publications continued during fascism, which opposed proposals for sf magazines see the de Turris anthology , while a previously prolific sf film industry stopped abruptly see Bertetti.

In this period critic Sergio Solmi, a friend and collaborator of Calvino, wrote about sf as contemporary folklore, successor to early-modern chanson de geste. Johannis , cover-artist Kurt Caesar, and hard-boiled crime writer Franco Enna. In Monicelli persuaded one of the largest publishers to start Urania , a newsstand series of what he called fantascienza , a term that began to be used by other series as well.

The early Urania was frequently idiosyncratic and demonstrated a paternalistic view of the Italian audience. Still, both Urania and its main rival Cosmo Ponzoni published some strong works, and although most Italians used foreign-sounding aliases, using pseudonyms is not unique to Italian sf.

Numerous Atlantis novels e. Among space-opera authors, Luigi Naviglio appeared worried about a crisis of masculinity, which only interplanetary adventure could revitalize; his Estinzione uomo [Extinction: Man] presented a dystopian, women-dominated world. Her self-conscious, almost recursive I giorni di Uskad [Uskad Days, ] is the best among her many alien scenarios. In this period new magazines began to publish Italians without pseudonyms and a school of short-story writers developed.

Hard sf by writers such as Giovanna Cecchini, Cesare Falessi, Ivo Prandin, Gianni Vicario, and above all Lino Aldani dominated the fiction section of the aerospace magazine Oltre il cielo Beyond the Sky, , but this work was often far from triumphalist about space exploration. Meanwhile, the magazine Futuro and the anthology series Interplanet bridged sf and literary publishing, an effort later shared by the magazine Gamma. Over almost fifty years, he gave opportunities to new writers at home and abroad as an editor and as liaison with European markets especially France and Eastern Europe: In the near future of Quando le radici [When the Roots, ], generally considered his masterpiece, the drop-out protagonist must choose between alienating factory work and a bucolic community in his hometown in the valley south of Milan.

Finding stagnation as unsatisfactory as techno-degradation, he joins a Gypsy group to reconcile rejection of bourgeois life with a longing for the unknown. Later novels are La croce di ghiaccio [The Ice Cross, ], an alien anthropology explored through the communication efforts of a dissenting priest, and Themoro Korik , an investigation into the secrets of a Roma community. In this decade a new generation of writers, inspired by the Italian edition of Galaxy , discovered dystopian and social sf.

A smaller number of writers wrote with absurdist twists. The most popular satirist emerging in the s was computer scientist and futurist Roberto Vacca, one of the few believers in sf as prediction and in the need for a technocratic elite, whose nonfiction The Coming Dark Age was widely read in the US. Irony became bitterness in some post-nuclear-apocalypse novels, and Scerbanenco presented a fragmented Italy whose survivors flock towards an ostensible utopia which is yet another dictatorship in the sophisticated Il cavallo venduto [The Sold Horse, ], written with an intensity stemming from personal WWII experience see Gallo in this issue for more on Italian sf by non-genre writers.

Short fiction was preferred by the most prestigious mainstream writers who wrote some sf in this period: Primo Levi whose work is analyzed in this issue by Mori and Calvino. Calvino linked science with mythology in his Cosmicomics , which follows the adventures of antihero Qwfwq in a prehuman world that mirrors and critiques our own.

Specialized bookstore series, providing careful translations, and a fresh generation of editors Vittorio Curtoni, Gianfranco de Turris, Sebastiano Fusco, Giuseppe Lippi, Gianni Montanari, Ugo Malaguti, Sandro Pergameno, Riccardo Valla, Gianfranco Viviani, and others with very different aesthetic and political approaches allowed readers to join the conversation abroad, while a national fan scene coalesced and Carlo Pagetti inaugurated academic sf studies.

As Chayt shows in this issue, these were also crucial years for sf film, which found new life around simultaneous with tv experiments that mostly disappeared around in low- and mid-budget productions. In his early fiction, the post world has explicit echoes of the Resistance, and the quest for survival of mutants and persecuted outcasts is an analog for generational utopian longings. Against the frequent background of wars often involving mind-control, Curtoni explored subtly different relationships as the only hope against worlds in decay, which involved sex-change in his only novel, Dove stiamo volando [Where Are We Flying, ].

His irregular trickle of carefully crafted short fiction went on until his death in in a highly personal voice oscillating between anger and sarcasm, found in the collections Retrofuturo [Retrofuture, ], Ciao futuro [Hello Future, ], and Bianco su nero [Light Over Darkness, ]. A few longer works by non-genre writers stand out. The s and Women in SF. Among fanzine writers, Franco Ricciardiello stood out. At the beginning of the decade, only a few authors of traditional space opera Antonio Bellomi, Luigi Menghini were on bookstore shelves or newsstands.

One main force of renewal was the increased presence of women writing sf. This motif continued in other works: Cyberpunk offered a chance for rephrasing the feminist focus on the body. Later sf included YA novellas rewriting Conrad and Melville and the dystopian Eva , a detective story responding to the war in the former Yugoslavia. The s and History. For many, cyberpunk was less literature than political movement, a neo-Situationist form of engagement, and earliest examples came from small underground presses. Publication opportunities were offered by numerous anthologies and by magazines such as Nova and Futuro Europa and later Carmilla.

Many established writers were revitalized. Catani explored new technologies of the body: In terms of both sales and influence, the leading figure in the last twenty years is Valerio Evangelisti, champion of the aesthetic and political power of popular genres against outdated ivory-tower ideals. Starting with Nicolas Eymerich, inquisitore [Nicolas Eymerich, Inquisitor, ], Evangelisti mixes times the Middle Ages; a corporation-dominated twenty-second century ravaged by low-intensity wars of incredible cruelty and genres sf, historical novel, supernatural in a style I would term juxtaposition. The Eymerich cycle concluded with Rex tremendae maiestatis , whose title comes from the requiem mass and an American sequence began with the collection Metallo urlante [Screaming Metal] see Somigli in this issue.

Both are predicated on a view of history in which conflicts and injustices remain forever unresolved, past and present wounds forcing us critically to rethink the future. Dick among its characters. Current signals point to an emerging steampunk scene. Former punk-rocker Riccardo Pedrini now a member of the Wu Ming collective set Libera Baku ora [Set Baku Free Now, ] in both Italy and the Caucasian region, an anarchic parable on control over warring factions, none of which may claim moral superiority.

The Rebellion, ] re-enacts the seventeenth-century Masaniello uprising.

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Recent space fiction oscillates between classic and new sf. As the s opened, the book market shrank, probably more than the rest of the economy, and sf received one of its severest blows. Still, there remain opportunities, especially provided by Urania for novels, while in short fiction the new Robot magazine initially with Curtoni at the helm, succeeded in by Sosio keeps a connection with current Anglophone sf. I can only be ambivalent regarding the current state of affairs.

Invisibility and misunderstandings make professional activity difficult; nevertheless Italians do not stop imagining the future. New small presses have appeared, while anthologies and ebooks provide venues for short fiction, and a group of non-specialized authors keeps working in sf. Probably this is one of the stakes in and around the sf scene today: Heralded by Vallorani, Evangelisti, and Altieri, the ideal center in Italian sf is the intersection with hard-boiled fiction, inaugurated by Dario Tonani.

His ongoing Mondo9 series, started in and successfully translated into Japanese, is a steampunk-flavored planetary romance about human-machine dis- integration in which the inorganic appears as much an agent as the organic. For connettivisti, approaching the new is a political choice; many of them employ outer-space scenarios, and in stories by De Matteo Revenant , and Sandro Battisti the sublime posthumanity borrowed from British sf is a tool to address the social complexity of a globalized future.

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I am tempted to connect Verso with other signs of the rise of YA Italian sf although his novel was not meant as such: If present-day scenarios make him more accessible to the generalist audience, his fascination for Chinese-box conspiracies mixing esotericism, farce, and tragedy is definitely postmodern. In such a diverse field, one can only trust in a further diversification of its voices and an open attitude both from the marketplace and literary institutions.

I also thank Donatella Izzo and Darko Suvin for their comments on a longer draft of this essay. I dedicate this overview to the memory of Vittorio Curtoni and Riccardo Valla: All translations from Italian are my own. One could trace specific regional sf histories; for example, see Catani on Puglia in Southeast Italy.