Qorayaasha dambiyada Talyaanigu waxay si fiican wax uga qoraan jawiga 1968, laakiin waxay hadda bilaabayaan inay wax ka qabtaan 'sannadihii hogaanka' - tobankii sano ee xumaa ee raacay, oo ay ku mudaaharaadayeen bidix iyo ka dib cadaadis midig.

 

 

Sheekada dambiyada Talyaanigu waxay ku jirtaa caafimaad adag, iyadoo lagu xukumay iibinteeda. Talyaanigu waxay u arkaan nooc u oggolaanaya ka-qaybgal wax ku ool ah ee dhaleeceynta bulshada, sidaas darteed waxaad filan kartaa inay diiwaangelisay mawjadaha isbeddelka siyaasadeed iyo bulsho ee kacaanka ah ee ku dhuftay Talyaaniga dabayaaqadii 1960-meeyadii iyo dabayaaqadii 70-meeyadii, kaas oo loo yaqaan ' anni di piombo" (sanadaha hogaanka).

 

This label was media shorthand, a way of making the period easier to forget. It helped Italians forget that the bloodiest, most indiscriminate attacks were the work of fascists with links to the secret services and the authorities, and that neither the perpetrators nor their masters have ever been brought to justice (1). It made it possible to forget the repressive force of the law brought to bear on the far left: in the late 1970s there were thousands of arrests, tens of thousands of denunciations, publications seized, and charges against lawyers, journalists, and intellectuals. And it allowed Italians to forget that thousands, if not millions, lived for years in radical opposition to the state: Italy had the biggest and longest-lived anti-capitalist social movement since the second world war.

 

Muddadu waxay raad weyn ku reebtay taariikhda Talyaaniga, laakiin suugaanta guud ma helin hab lagu muujiyo taas (2). Buuga dembigu si ka wanaagsan miyuu sameeyay? Sannadkii 1968-kii khiyaaliyada dembiyadu waxay weli ahaayeen nooc-hoosaad hoos yimaada saamaynta xannibaadaha la soo rogay xilligii Faashiistaha: waagii Mussolini dembiilaha sheekada dembi ma noqon karto Talyaani, sheekooyinkana looma oggolaan inay si dhow uga tarjumaan nolol maalmeedka. Waxaa caddaatay 1968-kii in uu jiro isbeddel markii Giorgio Scerbanenco (1911-69) uu helay aqoonsiga - Grand Prix de la littérature policière - for Traditori di tutti (Kiyaamada Dhammaan). Waxa uu jabiyay dhul cusub si uu buugaagtiisa ugu dhigo nolol maalmeedka Milanese-fasalka shaqada. Sawirkiisa qarsoon ee mugdiga iyo jaahwareerka akhlaaqda ayaa muujiyay dareen uu u qabo kuwa ka tagay kobaca dhaqaale.

 

Tusaale muddada

 

According to Luca Crovi, a specialist in contemporary crime fiction, his novel I ragazzi del massacre (The Boys of the Massacre, 1968) was "a metaphor for the period. Scerbanenco showed the malaise of the young people of the time from their point of view". In the book a group of boys, mostly from borstal, kill their teacher. The investigator interviews an "abnormal" character, an "inverted" type, and works out that such a crime couldn’t have been hatched by a man, it must have been the work of a "hysterical woman". That year the pages of Rosso, a paper published by the Milanese workers’ autonomy movement, mixed articles on the workers’ struggle in the factories with the struggles of women and homosexuals.

 

Scerbanenco, oo ah wiilka Yukreeniyaan ah oo ay dileen Bolsheviks, wuxuu ahaa, sida laga soo xigtay gabadhiisa, "indheergarad qarnigii 19-aad, shakhsi shakhsi ah oo dareemay nacayb qoto dheer oo loo qabo nidaamyada kali-taliska ah, laakiin sidoo kale macaamilka iyo adduunku waxay u badan yihiin lacag taas oo ahayd kaliya. bilaabay inuu soo muuqdo markaas". Laakiin khaniis nacaybka, luqadda khaldan ee buuggiisa waxa ay tusinaysaa in noocgu aanu awood u lahayn inuu la tacaalo mowjadda cusub ee isbeddelka.

 

Qaar ka mid ah qorayaasha ayaa u kacay loolanka ka dib. Guusha weyn ee Andrea Camilleri ayaa ah sababta ugu weyn ee khiyaaliyada dambiyada Talyaanigu u heleen aqoonsi caalami ah (3). Laakiin inkasta oo uu qaatay jagooyin ka soo horjeeda nidaamka bidix ee hay'adaha (4), tixraacyada 1970-aadkii ee buugaagtiisa waxay ku kooban yihiin cambaareynta hoggaamiyeyaashii hore ee bidixda kuwaas oo u gudbay midigta oo noqday mulkiilayaal ama siyaasiyiin.

 

Loriano Macchiavelli was 34 in 1968. He ran a political theatre group in Bologna, when the city’s political atmosphere was highly charged. At the end of the 1970s he was a founder of Gruppo 13, which initiated the renewal of the Italian roman noir by getting it to tackle political and social themes. The hero of many of his novels, Sarti Antonio, has a sidekick who "just happens to have been" a militant of ’68. Cos‘è accaduto alla signora perbene? (What Happened to the Honest Lady? – meaning Bologna) takes place between 1970 and 1980 when the city’s ruling communist party faced demonstrations from the extreme left. Antonio’s character develops during the troubles as a sarcastic witness to events – like the author as he described himself at the time on his "clapped-out scooter, rushing from one demonstration to the next to breathe in the tear gas and look at the guns aimed from armoured vehicles".

 

Before becoming one of Italy‘s best-known crime writers, Massimo Carlotto (5) was tried in 1976 for the murder of a friend. He was pardoned in 1993 after 15 years in prison; he had been the victim of a judicial campaign only explicable because of his membership of the extreme left group, Lotta Continua. His novels have a cruel beauty, and he views the changes in Italian society through his bitter experience.

 

faragooysta, 1969

 

A bomb killed 17 and injured 80 on 12 December 1969 in the Piazza Fontana in Milan. The investigators didn’t follow up links to the far right and the security services that have since been substantiated. What did happen was that an anarchist, Giuseppe Pinelli, "fell" from a window during an interrogation at the police headquarters. A dancer, Pietro Valpreda, who came from the same background was also arrested and was depicted in the press as the "monster" responsible for the bombing. He served three years in prison before being cleared. Valpreda, who died in 2002, co-wrote three detective novels with journalist Piero Colaprico. La primavera dei maimorti (The Spring of Those Who Never Died) describes the atmosphere in Milan in 1969, with political squats, demonstrations and graffiti-covered walls. Their account of prison culminates in a hallucinatory description of the San Vittore riots, one of the first prison revolts in Italy. Just as the police are about to regain control, a protestor shouts: "Comrades, the cops are here and they’re going to massacre all of us… But by God we’ve had a good time!" That could stand as the motto of all the post-’68 rebels.

 

L'ultimo sparo (Bulletskii ugu dambeeyay) waxaa qoray Cesare Battisti (wuxuu dhashay 1954) inta badan waa taariikh-nololeed. Waxa ay ka sheekaynaysaa sheeko-xumo yar-yar oo ku lug lahaa siyaasadda isaga oo la xidhiidhay kooxaha fowdada. Waxa ay kicisay xamaasadii fikirka iyo jawigii waagaas oo ahaa mid farxadeed iyo niyad jab iyo jabka soo gaadhay kooxaha hubaysan. Marar dhif ah ayaa dabeecadda kacsan ee dhacdooyinka si wanaagsan loo qabsaday: "Immisa ayaad joogtaa? Haa, waxaan ula jeedaa ... anaga, kooxda. Sideen ku ogaan karaa? Maalin waxaa jira laba naga mid ah, labaatan kale. Mararka qaarkoodna boqol kun." Battisti si weyn ayaa loo necbahay sababtoo ah wuxuu ka soo horjeeday cadaadiska sanadihii 68 ka dib.

 

Other than the authors mentioned and a few more, Italian crime fiction hasn’t broken with this collective amnesia. Nostalgic, wry recollections of 1968 and the protesters have obscured memories of the years that followed, of the complexity of events and the suffering caused by the "return to calm". A few voices in Italy protested against the mainstream media’s anti-Battisti consensus, and recently they also protested against the witch-hunt against the Roma people provoked in October 2007 by Rome‘s mayor, Walter Veltroni.

 

Wuxuu ku eedeeyay dhamaan bulshada Roma kadib markii nin roma ah uu dilay haweeney deegaanka ah, wuxuuna cagaf-cagafyo u diray tuulooyinka. Siyaasiyiinta dhinacyada oo dhan ayaa ku biiray. Kuwa ka soo horjeeda tan, oo sidoo kale ah kuwa yar ee ka soo horjeeda guusha Berlusconi, ayaa sidaas ku sameeyay mareegaha (carmillaonline.com) ee loogu talagalay suugaanta noocyada - dambiyada iyo sayniska - iyo dhaqanka mucaaradka. Goobtan doorka roman noir sida naqdinta bulshada ayaa lagu hayaa nool.

 

New authors show the capacity of the genre to tackle socio-political complexities. Giancarlo De Cataldo is a middle-aged magistrate and prolific crime novelist. His Romanzo criminale decribes the corridors of power in Italy in the 1980s, when politicians and Mafiosi rubbed shoulders. Simone Sarasso, now in his thirties, deals in Confine di Stato with the criminal activities of the political class of the 1970s. 54, a collective work by "Wu Ming", recounts the birth of modern Italy in the story of a single year. Giuseppe Genna (6) and Gianni Biondillo, both around 40, set their stories in working class districts of Milan in their childhood.

 

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Serge Quadruppani waa qoraa iyo tafatiraha Bibliothèque italienne oo uu daabacay Métailié

 

(1) See Valerio Evangelisti, "Italy: fascist sci-fi", Le Monde diplomatique, English edition, November 2001.

 

(2) Apart from the work of Nanni Balestrini (born 1935) and Erri de Luca (born 1950). Balestrini, one of Italy‘s pre-eminent experimental writers, founded Gruppo 63 and the neoavanguardia. De Luca, now a novelist, was an active member of the extreme left political activist group Lotta Continua.

 

(3) Many of his novels are available in English from Picador in the UK and Penguin in the US.

 

(4) Wareysi uu bixiyay wuxuu ku yiri: "Guutooyinka cas iyo dawladda midna... saaxiibbadii khaladka ahaa weli saaxiibbo ma ahayn, gobolkuna wuxuu ahaa sidii uu markaas ahaa".

 

(5) Buugaagtiisa waxaa lagu daabacay Ingiriisi by Europa Editions.

 

(6) His In the Name of Ishmael is available in English (Atlantic Books, London, 2005).

 

Waxaa tarjumay George Miller

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