義大利犯罪小說家對 1968 年的氣氛寫得很好，但他們才剛開始探討「領導年代」——隨後的嚴峻十年，伴隨著左翼抗議和隨後的右翼鎮壓。

 

 

從銷售來看，義大利犯罪小說發展勢頭強勁。義大利人將其視為一種能夠有效參與社會批判的流派，因此你可能會認為它記錄了 1960 世紀 70 年代末至 XNUMX 年代末席捲意大利的革命性政治和社會變革浪潮，後來被稱為“ anni di piombo」（領先年數）。

 

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.

 

這段時期在義大利歷史上留下了深刻的印記，但主流文學尚未找到表達這一點的方式(2)。犯罪小說做得更好嗎？ 1968年，受法西斯時代限制的影響，犯罪小說仍然是一個子類型：在墨索里尼時代，犯罪故事的罪犯不可能是義大利人，故事也不允許過於密切地反映日常生活。 1968 年，當 Giorgio Scerbanenco（1911-69 年）憑藉《Traditori di tutti》（《所有人的背叛者》）獲得文學警察大獎時，情況發生了明顯的變化。他開闢了新天地，將自己的著作融入米蘭勞工階級的日常生活中。他對模糊和道德困境的微妙描繪表現出了對經濟繁榮留下的人們的同情。

 

一個時期的隱喻

 

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.

 

謝爾班寧科是一名被布爾什維克殺害的烏克蘭人的兒子，據他的女兒說，他是「一位19 世紀的知識分子，一位個人主義者，他對獨裁政權深感厭惡，但也對消費主義和金錢統治的世界深惡痛絕。但他小說中仇視同性戀、厭惡女性的語言表明，這一類型無法應對新一波的變化。

 

一些作家後來確實接受了挑戰。安德里亞‧卡米萊裡的巨大成功是義大利犯罪小說獲得國際認可的主要原因 (3)。但即使他採取了與左派正統觀念相悖的立場 (4)，他的書中對 1970 年代的提及也僅限於譴責那些轉向右翼並成為媒體老闆或政客的前左派領導人。

 

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.

 

米蘭，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.

 

切薩雷·巴蒂斯蒂（Cesare Battisti，生於 1954 年）的《L'ultimo sparo》（最後一顆子彈）大部分是自傳。講述了一個小流氓透過與無政府主義團體接觸而涉足政治的故事。它喚起了當時的意識形態緊張和氣氛，既欣喜又絕望，以及武裝團體的失敗。很少有人能如此準確地捕捉到事件的不穩定特徵：「你們有多少人？是的，我的意思是……我們，這群人。我怎麼知道？有一天我們有兩個人，另外有二十個人。巴蒂斯蒂受到廣泛的不喜歡，因為他反對壓制 68 年後的記憶。

 

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.

 

在一名羅姆人謀殺一名當地婦女後，他指責整個羅姆人社區，並將推土機開進棚戶區。各方政治家都加入了進來。這樣做了。在這個網站上，羅馬黑色電影作為社會批判的作用仍然存在。

 

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.

 

  ________________________________________________________

 

Serge Quadruppani 是 Métailié 出版的《義大利圖書館》的作家和編輯

 

(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）他受訪時說：「無論是紅色旅還是國家…錯了的朋友還是朋友，國家還是原來的樣子」。

 

(5) 他的書由 Europa Editions 出版英文版。

 

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

 

喬治·米勒譯

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