Old friend & much admired Italian poet, novelist, avant-gardista in lit & politics, Nanni Balestrini, has just had a lovely homage/essay on Pierce Penniless. Here the opening paras:
On a wall in a city in Italy is scrawled a graffito: ‘Leggete Nanni Balestrini’ – ‘Read Nanni Balestrini’. It brings you up short: an imprecation to read an avant-garde novelist is not something you often see written in spray-paint. Graffiti is all about staking an urgent claim to something unacknowledged, most often and most simply that you were there. Here, it is Read Nanni Balestrini. Why? Balestrini’s recently republished novel of Autonomia, The Unseen, gives some idea.
The Unseen is a novel determined by history. It was written and published ten years after the Years of Lead; as such it cannot end other than it does, in the brutalities of state repression and imprisonment. But it recovers, too, the exhilaration of the early years of Autonomia, and rejects sententious or easy moralising about the struggle. Such refusal of the simple position of literary pentito caused Balestrini no end of problems: many publishers rejected the novel for its violence, and its eventual publication by Bompiani occasioned a generalised wringing-of-hands across the Italian literary press over the novel’s failure to accord with the new consensus on Autonomia – that it was critically and ideologically impoverished, that it was the ineluctable progenitor of terrorism, that it was (above all else) out of harmony with the appropriate way of conducting politics.