In the context of poetry, the picture of presences that had already established itself in previous decades, also with new collections and complete syllogies (from Milo De Angelis to Valerio Magrelli, Eugenio De Signoribus, Jolanda Insana, Antonella Anedda, Patrizia Cavalli etc.): but the set of new voices is too indeterminate, uncertain and confused, to give a credible image (and besides, the poem is affected by the lack of interest of the great publishers on the one hand and the casual expansion on the other. of publications without a market).
Among the most interesting appearances in the field of fiction, that of Walter Siti has emerged in recent years who, present on the scene since the nineties, has taken on a new importance with Too many paradises (2006), where the singularity of eros homosexual expands in the vortex of a world dominated by voracious desires, by the consumption of bodies and relationships, between the virtual and evanescent “paradises” projected by the television environment; then in the novels Il contagio (2008) and Resistere is useless (2012) Siti records the degradation and disintegration of social relationships, in a reduction of Italy and of the world on the outskirts, in an intrusion of crime and the obsession with possession in every sphere of experience, with the denial of any moral or political alternative. The books of Siti leverage mostly on a fictitious self that has the same name as the author and that transposes the autobiographical data in the forms of what is usually called autofiction: an ego that represents the reification of every possible self, such as underlines the opening words of Too many paradises: «My name is Walter Siti, like everyone else. Champion of mediocrity. My reactions are standard, my diversity is mass ».
In the same 2006 of Too many paradises, Gomorrah established itself with great public resonance . Journey into the economic empire and the dream of domination by the Camorra, by Roberto Saviano, who instead relied on an ego that bets on itself in a search for truth and justice, in direct and courageous personal verification; in a form of personalized reportage, in which the author risks his whole self. For Gomorrah, there was talk of a ‘return to reality’ and civil commitment: and an image of writing as a challenge arose, immediately received by the culture of the media, transformed into a sort of public icon, to the detriment of any linguistic and stylistic study.
According to GLOBALSCIENCELLC, the last novel by an author born before 1950, but only in recent years, Francesco Pecoraro, La vita in tempo di pace (2013), attributable to autofiction, marked by an aggressive resentment towards vulgarity and mystification of a collective life that took place in the consumption of all the consumable, in the degradation of physical and natural spaces. In Pecoraro and in many younger writers, writing often traces spatial parameters, following the ways in which the present hinges on a new and contradictory identity of places: so for the North by Giorgio Falco, with The location of bene (2009) and La twin H (2014), and for Sicily by Giorgio Vasta, with The material time (2008) and Disorientation (2010).
In the various crowding of the writings of the younger generations it is not possible to list all the experiences which, even in the framework indicated at the beginning, reveal qualities that can lead to interesting developments. Some authors face an implicit nostalgia for great literature, a stubborn aspiration to a possible and lost style: this may be the case of two authors who emerged in 2005, Antonio Scurati (attentive to conflicts between generations and the violence of media communication) and Alessandro Piperno (who follows ‘negative’ images of the world of the Roman Jewish bourgeoisie), and above all of an author already active in previous decades, Michele Mari, who in 2014 built his own paradoxical, ironic and nostalgic homage to the past of the great humorous and adventure novel, Roderick Duddle, a very lively game of literary mirrors, in the time of a literature that struggles to find itself and that by now risks getting lost in the indeterminate evanescence of the market and the network.
Much practiced terrain is that of the intertwining of the narrative form and the non-fiction form (in which Gomorrah also enters), often with an exasperation of personal data. The use of the catalog-form is also very lively, suspending every narrative trait in the construction of small encyclopedias of situations, characters, paradoxical events (as in the books of Eugenio Baroncelli). But new territories are perhaps heralded by the increasingly frequent cases of immigrants with a different mother tongue who take the Italian language on their own: there is no lack of results of great interest, especially for the glimpses on realities usually neglected by Italian literature and for the intercultural horizons that they draw, even if it does not seem that really decisive results have yet arisen.
