This study focuses on the narrative form which figured prominently in Sciascia's literary production in the 1970s and 1980s, that is, inchiesta, the non-fiction investigative essay, based principally on Manzoni's Storia della colonna infame [The Column of Infamy]. In his inchieste Sciascia investigates episodes in history, from the time of the Inquisition through to his own contemporary times, where intolerance and injustice outmatch human weakness and fear. This study considers Sciascia's commingling of detective and investigative writing, and his attempts at historiography. One striking feature of his narrative technique is his reliance on literature to interpret the past.
"In this, the first critical study of Sciascia to appear in English since his death, Joseph Farrell examines the various aspects of his work as novelist, critic, essayist, journalist and acerbic political observer to show how the historical and cultural complexities of Sicily shaped his wider vision of life." "A tenacious opponent of the Mafia, Sciascia recreated the detective story both to give voice to his opposition and to continue his own quest for an order founded on the values the Mafia contradicts - justice, truth and reason. His output falls into two categories, works of historical and contemporary fiction, and 'essay-investigations' which delve into mysteries from his own time and from the past. Sciascia always confronted the central political and moral issues of the day, and with most of his work now available in translation, this is a timely study of an important and influential Italian writer."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This book is about literary representations of the both left- and right-wing Italian terrorism of the 1970s by contemporary Italian authors. In offering detailed analyses of the many contemporary novels that have terrorism in either their foreground or background, it offers a “take” on postmodern narrative practices that is alternative to and more positive than the highly critical assessment of Italian postmodernism that has characterized some sectors of current Italian literary criticism. It explores how contemporary Italian writers have developed narrative strategies that enable them to represent the fraught experience of Italian terrorism in the 1970s. In its conclusions, the book suggests that to meet the challenge of representation posed by terrorism fiction rather than fact is the writer’s best friend and most effective tool.