According to globalsciencellc, the ideological-political crisis that accompanies the great events of the end of the 20th century. accelerates the end of the theory that sees literary culture linked to a social development project. Hence the widespread withdrawal of writers on their own individual reasons. The increasingly widespread perception of a situation of intellectual emptiness is therefore contrasted with the need for a cultural renewal which, recognizing literature as its special cognitive and critical witness purposes, restores to writers the ability to measure themselves, outside the box and ideological subjection, with the questions and expectations of the contemporary world.
In the field of poetry, after the death of E. Montale (1981), the exemplary experiences of Bertolucci, Caproni and Luzi continue. In the same period, the vitality of some voices which attracted attention from about the middle of the century was confirmed: that of Fortini and that of Zanzotto. The choice of isolation in one’s own laboratory unites other significant experiences: from that anticipating the neo-avant-garde of E. Cacciatore, to those of A. Parronchi, T. Scialoja, N. Risi, G. Orelli, L. Erba. R. Roversi continues to refer to his vocation as an eminently civil poet. Carried out their activity, protagonists of the distant period of the neo-avant-garde such as A. Giuliani, E. Pagliarani, E. Sanguineti, N. Balestrini. Particular emphasis should be given to Giudici, The verses of life, 2000). Ottieri’s poetic production unfolds along the lines of an anxious as well as ironic questioning about his own condition of malaise. The formal research of A. Rosselli (Le poesie, postumo, 1997) is definitely independent. The poetry of F. Bandini is placed in balance between tradition and innovation, while C. Villa remains faithful to the reasons for a literary research based on the mutual necessity of narrative prose (Fino all’ultimo STOP, 1999) and of poetic language (Dedicamenta, 1999). G. Raboni completes his artistic career with extreme coherence (All the poems (1951-1998), 2000; Last verses, posthumously, 2006). The contribution of other poets, active on the literary scene for a long time, is significant: B. Marniti (pseudonym of the poet Biagia Masulli); ML Spaziani; L. Frezza; G. Neri; G. Majorino; G. Leto; and the more famous A. Merini. Many of the emerging poets around the 1960s consolidated their fame: Beauty, which came from the initial excitement to the tones of a meditation collected in mature works; Cucchi; G. Conte. Among the other poets worthy of attention: L. Mariani (from Investigation of possibilities, 1972, to Some news of the time, 2001); E. Pecora (Poems 1975-1995, 1997); V. Zeichen (Pocket Metaphysics, 1997); G. Scalise (Poems from the 90s, 1997); B. Frabotta (Contiguous land, 1999); the ironic and falsely naive V. Lamarque (from My love is very good, 1978, to A quiet dust, 1996). In C. Viviani verbal experimentalism, in connection with the psychoanalytic key, seems to be contained in the forms of a communication made accessible, while De Angelis continues to verify the reasons for a closed poem in the autonomy of its own language. Among the poets of the generation of the 1950s we must remember at least R. Mussapi, P. Valduga, Magrelli.
Rare in the field of fiction are the exceptions to a production exposed, much more than poetry, to the conditioning of the cultural industry and the market. The death of Sciascia (1989) and Volponi (1994) seems to leave the field of civil and social denunciation almost empty, which nevertheless makes a sensational return to the fore with the novel Gomorra (2006) by R. Saviano. In a very choppy and rather eclectic panorama, some figures of now classical authors stand out: AM Ortese, M. Prisco, D. Rea, La Capria. Among the writers belonging to the same generation: G. Saviane, M. Rigoni Stern, G. Bonaviri, whose inclination to poetry is inseparable from the narrative one; L. D’Eramo; F. Sanvitale. Brief but intense, from his late debut until his sudden death, is the presence of Bufalino, one of the few writers of the full and late twentieth century able to boast the deserved appreciation of the critics as well as the public. This also applies in part to Malerba, as well as to Eco. Tenaciously rooted in the Sicilian reality, Consolo derives the material of an acrid, morally resentful and stylistically tense narration. Autobiographical memory and the reinvention of his own experiences distinguish the production of A. Bevilacqua, while a large part of Italian fiction insists on the themes of a historical and at the same time private memory. On the path of a painful and uncovered autobiography moves L. Canali, also active as a poet. But the names of G. Lagorio and R. Loy must be added, or those of D. Maraini and F. Ramondino. Outside the usual circuits Corti, on the sidelines of her philological and critical activity, cultivates her interests as a writer with works that break the usual boundaries of the narrative genre. An eccentric position, for various reasons, is occupied by authors such as G. Manganelli, whose work continues to be enriched with posthumous titles, or as L. Meneghello, a writer of very singular expressive inventiveness, or also G. Gramigna and G. Soavi. Equally out of the ordinary, G. Ceronetti confirms himself as a highly cultured and disconcerting moralist. Critic and essayist, P. Citati also reveals himself to be a highly inventive narrator, while the long literary militancy of A. Arbasino appears more and more significant both for the early postmodern lesson of his narrative writing, as for his reckless essayism or for his light-hearted verve of its verses of civil intervention. A prominent place is occupied by the production of C. Magris, a writer of refined measure as well as an essayist. In R. Calasso, finally, the strong cultural interests flow back into a dense narrative-non-fiction writing. Other authors identify the progressive liberation of the Italian narrative culture from the most worn-out reasons of realism, as well as from the temptations of pure formal experimentation: PM Pasinetti; G. Cashiers; C. Sgorlon; Pontiggia; and again F. Camon and F. Tomizza. Sicilian, critic and playwright as well as narrator, probes complex inner truths. Going down to the generation of authors born in the 1940s, the success achieved by S. Vassalli with his novels calibrated between historical reconstruction and a captivating storytelling quality, but also the writing, marked by a strenuous metaliterary attention, of Cordelli, must be recorded. essayist and storyteller. Tabucchi also consolidates its international reputation. Balanced between humor and pathos, we must remember the novels of N. Orengo, poet as well as narrator. Montefoschi is a sensitive evocator of Roman atmospheres, between reality and dream. On the edge of a moving observation of reality, the production of S. Benni takes shape. Irruently transgressive, in the language as well as in the thematic choices, is A. Busi, while D. Del Giudice sets out on the trail of a non-fiction narrative. The sudden and full affirmation of A. Camilleri at the beginning of the 1990s forces us to break the chronological and generational thread, but it is also necessary to point out the presence of storytellers of the generation of the 1950s, variously oriented in the rather eclectic perspective that is outlined between the end of the 20th century. and the beginnings of the 21st: M. Morazzoni, L. Pariani, A. De Carlo, S. Atzeni, C. Piersanti, M. Mari, PV Tondelli, to whose lesson the writers of the last generations look with particular interest; S. Onofri; E. Refined. Authors such as A. Baricco, M. Lodoli, M. Mazzucco, S. Tamaro, S. Veronesi can also count on an audience of faithful readers.
