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The antihero


The anti-hero character in literature is a largely imperfect, that makes mistakes, sometimes big, but, despite his despicable actions often turns out to be a sympathetic character, tender, someone with whom to identify.
A recent novel focuses on an anti-hero of his story is absolutely remarkable: Rent Harry (the novel is "Harry revised", by Mark Savras, publisher Adelphi). Harry is a forty-five to a doctor whose wife has just died. Harry wonders why he does not suffer as it should, and instead of rocking in despair, he immediately put to woo a maid in fast food than twenty years younger. His reflections led him to trace his family life (Twisting his memories for his struggle to win Molly the maid). Until his thoughts come to some conclusions, even unexpected, which I will not say.
The amazing thing of this novel (which is a first film) is his style. "Harry revised" is written for a good half a light-hearted tone and mild, with a funny and ironic language that quite clear, however, sheds light on the life of our anti-hero, on his weaknesses, his mistakes (even tragic) with which all we can identify with. But, perhaps unconsciously, to avoid the risk of falling nell'inconsistenza, reflections of Harry becoming more serious and towards the end, the novel takes on an air of melancholy and sore, which increases its appeal. Here, "Harry revised" is really a fascinating story: a man who misses all the time, even in a big way, but that draws life lessons from his mistakes. We do not know what will happen next, but we know that at the end of the book, Harry has learned much of himself and he did from his own mistakes. E 'at the bottom of the story of our lives. Or not?

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Just give me a minute


E 'was discovered a secret. It seems that for decades all Trains from Central Station in New York leave with a minute's delay. All trains, invariably have a minute late. No officer of the railways admits explicitly or officially, but the what has now become apparent. The reason? One, to facilitate those who come running to the track because a slight delay. Shown and practice a form of courtesy to customers. Moreover, over the decades have Check to make sure that minutes are uneventful recovery during the trip.
Here, I think that America in this there is definitely a cut above. Italy is the country where the formal rules are mandatory and every time you try to make them flexible break out the controversy over alleged favoritism in this or that. But then, of course not obey the law and ensure the impunity of those who do (especially if powerful). In a much more pragmatic and without all the cloak of ideology, the New York minute delay shows that flexibility is useful and a little help from the state's duty. It 's a little thing, sure. But since Italy live in a time of intolerance, which led to continuous attacks only gravel and debris, think about this little thing is like a warm ray of sunshine after a rainy day.

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Strange things, tomorrow


Who should read the following books of the last three Raul Montanari ("The existence of god", "First Night" and "Strange Things, Tomorrow") would notice quite clearly the signs of a great impatience.
Montanari wants out of the cage. It started a few years to sharpen the file and now saw the bars with great energy. The writer was installed years ago in the literature of crime fiction (although I would say its great and sensitive classical training) because that was a way to be disciplined in writing, to act within the parameters easier, and finally, I think, groped to sell more. It is installed in the cage with profit noir, drawing characters and interesting plots. But those characters, those parameters encoded as fixed rules at some point they began to make him suffer. The reflections on life, the wounds of its heroes, the stories he wanted to tell press to exit from the boundaries and Montanari started by "The existence of god" I said that path beginning. In fact, he probably began earlier but the last three novels that the journey has been more sustained.
In the three novels "The existence of god" you seem to date the most compact, the progression of "exit" from genre literature is almost entirely accomplished. In the last novel "Strange things, tomorrow parameters noir not only have been overcome, but these remnants, the debris that those plots Montanari still bear behind, are now even a burden.
The deepening of the characters has finally reached the highest peaks (the main character, first and foremost, but also the supporting actors, in especially his wife Eliana). All that is left "back" is precisely that part of the novel that still pays a pledge to the noir genre: the twins, for example, are little more than specks of walks of life and economy figures of the characters are perhaps unnecessary. The girl dashed Federica is so trivial and only serve the plot just because it is part of that mechanism encoded. If Montanari had the strength to abandon the whole noir, perhaps he could also avoid some fall (for example, the scene of the protagonist and Federica naked, hugging, a little unnecessary and implausible for her falling in love with him, too ' it quite useless).
am confident that in the next couple Montanari novel definitely the way of the novel without pawns with the past. The turning point is now mature and writing smoother and lighter, the latter's novel testifies to the desire to take the final step.