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.
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