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Omar Di Monopoli, La legge di Fonzi: la rat-censione

Omar Di Monopoli
The law of Fonzi
Isbn editions
298 pages, € 11
ebook: € 6.99

In hot and dusty heat of an August news just whispered rips the torpor that surrounds the people of Monte Alb: Nando Asylum Pentecost said he paid off his account with the law and is returning home. It is not good news for the country, four houses grew in the shadow of industrial plant in Taranto and Brindisi, where once the Sacra Corona Unita reigned undisturbed. Today Monte Alb is based on a delicate balance and ephemeral sull'omertà based on petty corruption and the local underworld. A word is enough to bring down everything. Maybe it was done by five years in prison to cover the murder of an inspector, stuck his nose into the gutter of local affairs, he discovered the extent to which stink. Nando Asylum is returning home to collect what it is: a Monte Alb has no idea of \u200b\u200bhow high the interest payable ...

Among the good intentions for 2011 had trumpeted its intention to devote more space to our own authors: un po’ perché, per un motivo o per l’altro, li ho sempre (colpevolmente?) snobbati, un po’ per pura e semplice curiosità campanilistica. Voglio toccare con mano il loro valore, verificare da me a che punto è la nostra scrittura. Sono stato fortunato: la mia incursione nella “nuova” narrativa italiana non sarebbe potuta iniziare meglio.

Terzo capitolo della trilogia “orecchiette western” (della quale non ho letto i primi 2 capitoli, ma a questo punto non mi resta altro che procurarmeli), La legge di Fonzi è un romanzo che merita di essere letto per svariate ragioni. Su tutte lo splendido lavoro dell’autore sul linguaggio, un curioso mix tra il parlato pugliese e un italiano pazientemente cesellato, fatto di termini e aggettivi ricercati, a tratti desueti: superato un certo straniamento iniziale, il risultato è sorprendente efficace.

E così, se da un lato lu governu maledetto a noialtri povera gente ce lo mette sempre ‘ngulo , dall’altro l’arsura cocente di fine agosto ammantava la distesa di pietra brulla punteggiata dai cespugli di mirt o. C’è chi impone un ordine raggiando un’occhiata grigiocupa e chi pone una domanda labbreggiado coni biancastri di saliva . Ci imbattiamo in un’anziana nerovestita come una malombra e in un uomo lungocrinito . Fissiamo sguardi fessurati e occhi che sono dischi di pietra lesionata . I personaggi zufolano , deambulano , circumnavigano , scapicollano , lumano askance . I listen to gasp of a land parched for months waiting in vain, a drop of rain , admire an arid landscape pressed by the heat wave that distorts the architecture , while around we funeral sways the campaign, yellow stubble, burned black Restuccia .

The lack of punctuation (quotes, dashes) to separate dialogues (Often, as mentioned above, in the Apulian dialect) from the rest contributes to the happy mingling of the linguistic registers. As I said above, if initially the reader will find himself crowded out by some particularly risky combination, this "effettto side" is destined to disappear soon: what remains is just good writing.

Scripture, however, is never complacent, an end in itself, but more often in the service of a bitter social commentary that spares no one: the end of the day (indeed, the medieval joust) the inhabitants of Monte Alb do not come off well, indeed. Among small crooks, thieves from four money, unctuous men of the Church, and a corrupt mayor with his hands dripping with blood, for the author you are spoiled for choice. Scripture that is often sail a melancholy note, born of love for a land so long as it is fascinating, a land that bears upon him the scars of the underworld and of unauthorized savage

few miles down in the east, yet glimpsed the outline of an unguarded bridge, trapped between two blocks sheathed by grass embankments: a huge lizard that had long wrong before collapsing exhausted in the middle of the nothing, that there was growing old unfinished structure for more than thirty years, enduring warning to any promise of past, present and future development of the area.

Often the strongest words are put directly into the mouths of characters, words from which emerges a sense of grim and painful resignation to the status quo now seen as immutable, the real evil that poisons Monte Svevo and, by extension, South of the country, but not only, that in Italy so no one is guilty for ever, this is a country without memory ...

Vagnozzi, called him the woman while filming the way of the gate.

What? He turned again to ask the boy.

No 'makes you' fuck.

By whom?

from this place. Otherwise we do the same end: waiting forever for someone to decide to give us back what is perhaps ourselves first ... we have us arrùbbare

In short, ok, it is written well, ok, there is also a social commentary ... but underneath, there's the story? Yes, the story is there, and è pure una bella storia, vissuta da personaggi dai tratti volutamente esasperati ma non per questo non credibili, anzi… che si sa, di questi tempi il confine tra caricatura e realtà è piuttosto labile.

Si diceva dei personaggi: su tutti Giùanni Pentecoste detto Fonzi, la cui spettrale presenza si aggira per tutto il romanzo, eroe/antieroe che sembra uscito dritto dritto dal selvaggio West. E poi il truffatore Skùppeta, l’obeso commissario di polizia (ispirato, per ammissione dello stesso Di Monopoli, a Wiggum dei Simpson), la vecchia con un guardaroba fatto solo di vesti rigorosamente nere, rigorosamente uguali, Ronn Moss (sì, Beautiful Ridge Forrester's own, and I assure you I will not so easily domenticherete): all damn well chosen, though, to be honest, maybe it is in the characterization and management of certain characters that you can recognize what, in my view, is perhaps the only flaw of the novel: a tendency towards stereotyping of certain situations (I especially the love story between a teenage thief Pisso the beautiful daughter of the mayor and corrupt) that stride, that brings down to read, to have heard.

But it is a venial fault, which can (indeed must) go Above: The Monopoly has the talent to sell and sell very well. Are you a good morning starts in the morning, I have no idea that this year the Italian fiction of the nice surprises in store for me.

The beginning

blood will Judah, and who if he forgets? Still talks about it, mmienz 'to square the elderly. If you go out at night and go to feel that they speak only of what they speak. Lu governu of that and cursed, with the rest of us poor people around him to always put 'Ngulia.

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Latito, I know ... Who is the differences


... but it was a strange and wonderful time.
Now we return to pick up the M-60!

soon for updates!

( there are several eye ... )

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Energia nucleare: l'altro spot

It is with great pleasure that I receive and amplify the signal launched today by Omar Monopoly on Sartoris, abo on Twitter and many others on the network on the spot to Greenpeace on nuclear energy.
Spot, of course, never goes on TV.
We know, from the antics of these parties prefer propaganda.

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Shane Stevens, Io ti troverò: la rat-censione

Shane Stevens
I'll find you
Original title: By Reason of Insanity
Fazi Editore
798 pages, € 19.50
ebook: not reached

Between July and August of 1973 America assists terrified and helpless to the carnage carried out by Vincent Mungo, the most ruthless serial killer who has ever walked on the ground. Escaped from the psychiatric prison where he was imprisoned for a few months, Mungo across the United States from coast to coast, from Los Angeles to New York, leaving behind the remains of dead bodies horribly mutilated. The victims, all young women are tortured, raped, torn apart by a bloody rage unmatched, which is rooted in man's tragic past. His task is a higher mission: the woman is evil, he, the demon hunter, free the world from her abominable presence.

While the trail of blood becomes every day more and more dense, public opinion, shocked by the massacre, he began to wonder why nobody can stop him. Yeah, because no one can follow the trail of Mungo? Why, in spite of his photographs now tappezzino the walls of dozens of towns, no one has ever seen? Why the police, engaged in more extensive manhunt ever deployed on U.S. soil, has not the faintest idea how to predict his next move?

Simple: because the man is making fun of them all, the most savage serial killer in the history of America, not Vincent Mungo.

There are three things that I liked this novel: the first, and worst of all, it's inexcusable delay in the masterpiece, yes, I say this without shame, a masterpiece by Shane Stevens was published in Italy. It's been more than thirty years since By Reason of Insanity , well in advance of a recognized benchmark for the genre as The Silence of the Lambs, The Bone Collector or American Psycho , Inaugurated the literary genre of serial killer in the United States. A praise to Fazi for having delivered a novel of such importance, but a painful reprimand to all the Italian publishing private choice that you all this time.

The second and third are concerned specifically with the Italian edition: the title, I'll find you , is the most banal imaginable and does not make the slightest justice to the original, far more significant, and the cover is totally out context (I would like someone to explain to me where does the idea of \u200b\u200bthe car, because that is not reflected in the novel). And

enough.

I'll find you is a journey into madness of a mind so much disturbed as lucid and implacable: Stevens leads us to hand in a dark and winding maze of mental perversions that are projected out in a slaughter unparalleled. It shows us what remains would like a tour guide with the ruins of the imperial forums. The writing is combined with the record, with the bare facts: there is no moral judgments, not ideological stance. The sheer ease with which we are presented with the gruesome details displaces us, slamming us in the face of the fact that we are about to witness something horribly real, tangible, real. Read here: After years of belts, abuse, physical torture and psychological humiliation, years spent in "a world in which rampant cruelty, pain and death was the norm was a liberation," one who terrorizzerà U.S. kills his mother. He was ten years

in September bought Sara a whip. He said the store owner who thought about buying a horse. He said he would first have to buy the horse, but Sara just bought a whip.

That year the winter came early. Sara and her child were almost always at home and in the big wood stove fire is burning briskly. His mind often wandered: sometimes did not recognize the child, sometimes called by other names [...] The whipping became more frequent.

Then, one evening in late December, the child's mind snapped. He put his mother, still conscious, in the wood stove and watched burn. He watched her body sizzle and burn up to show white bones.

three rows. In three lines Stevens condenses the absolute horror, laying the foundation stone of a building which, after having remained unfinished for many years, will continue to grow at a furious pace after the escape of the killer psychiatric institution.

But not only in excellent writing that lies the greatness of the novel is the structure, rhythm, management themes of the action pauses, accelerations. The awareness of the whole. Stevens patiently paints, stroke after stroke, a complex and fascinating as the serial killer is only one component. There are many characters who populate the novel in fact, each of which is constructed with a sure hand and dashed with great attention to detail: each of them is assigned a specific role in the narrative machine, gears oiled and patiently made available to the reader .

Excellent, very good management plans and narrative points of view: the living and tangible three-dimensionality of the characters, build their dialogue after dialogue, Page after page, is the assembly diagram that is offered to us, so that each gear may be inserted in the right place at the right time. And so, in addition to the main story unfolds as "secondary", but always functional to the economy of the novel and starting point for reflections on issues of great social and media in those years that ignited the minds of the population on all the discussion on the death penalty, which opened as needed and rode after the execution of Caryl Chessman, the notorious (and really existed ) banned the red light, for many serial rapist and sacrifice for others. A performance that will the spark from which everything starts.

Among unscrupulous power-hungry politicians, frustrated detectives, journalists more or less caught up in dirty deals and ex-prisoners more or less redeemed in the second half of the novel shows the bulky figure of Adam Kenton, investigative reporter hired by Newstime to find the murderess before the police. He is the second largest magnetic pole around which everything converges, the alter ego of the killer, his most ruthless hunter and perhaps the only one able to understand the twisted and tormented psyche. The absolute and fanatical dedication with which he devoted himself generally seen as a mission impossible is second only to the Devil in California dedicated to its victims and its delusional plan for purification of the world, mirroring a thirst for power that, ultimately, is the driving force of all the events that are interwoven in the novel.

But, of course, he is the protagonist, Vincent Mungo, or, just as we know from the outset, Thomas Bishop. I rarely have come across a character with so much narrative power. Somewhere I think I read that Bishop Thomas Hannibal Lecter was like it was described by Truman Capote. I assure you it is much more.

The beginning

The flames greedily devoured the body, tearing and eating the flesh and muscles. Flaked, then blackened and charred, the skin fell apart quickly. Arms, legs and torso would soon be reduced to a pile of bleached bones on fire. And, in due course, the head, deprived of physical traits, it would become like a skull.

In silence, if not for that sing-song wail that went up from the bottom of the throat, the boy, his mad eyes lit by the red glow of the flames, watching the body burn, burn, burn ...

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The choice is yours on bonus!

In recent days it has ignited a debate in the City for the payment of bonuses to the bankers that would amount to about 7 billion pounds in 2010. The government has anything Cameron could have advanced against the threat from Barclays CEO Bob Diamond, as a representative of the bankers before the House of Commons Treasury Committee, that the big banks could leave Liverpool Street, Bank and the entire City in the event of more stringent rules. In return, according to the Sunday Telegraph, the government would be granted with the banks to reopen the taps of the credit. Others see a return to superbonus as a threat of moral hazard, a risk of new notes and new financial crisis by invading the real economy. There are also those who agree with moderation to welcome bonus seeing dilutions over the years and share-based payments. Rules too close may have no effect if not distort, a total lack of rules could lead to a new crisis.
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Appaloosa: la rat-censione

Following the death of Sheriff Jack Bell, gunned down along with his deputies by a local outlaw, the town has fallen into anarchy Apploosa: under the constant threat of weapons, people helplessly bullying to the gang of thugs led by Randall Bragg (Jeremy Irons), who, get rid of Bell, dominates the area at will. To restore order the mayor the city entrusts the care of Virgil Cole (Ed Harris) and Everett Hitch (Viggo Mortensen), a pair of mercenaries in the pay of anyone with enough money (and liver), to be at their service. The name of Virgil Cole in the desert sounds like the call of a hungry coyote: the lightning speed with his gun and his methods unorthodox are already part of the legend of the west. Obtained from the mayor carte blanche to act as he wishes, Virgil imposes its law on Appaloosa with the aim to deliver to the gallows Randall Bragg. But when the city comes the beautiful Ellie France (Renée Zellweger), her plans are designed to get complicated.

I always had a love / hate relationship with the western. On the one hand subisco the dazzling charm of his imagery: the wide-open spaces, the dusty roads that cross them, the land scorched by a relentless sun, a land that is offered, hard and sharp as stone, to the pioneers, men of few words like silent prairie around them. The charm the discovery of the trip, the outpost, the duels, survival of a man poised between the law and that of the desert. A world where everything must be won, baptized built. Secondly I find it hard to accept the repetition of hypertrophic topoi, situations and characters too often overlap one another, with the result going to be one big script that, with some slight variation on the theme, tends to repeat itself endlessly.

Ed Harris's film, here in the double role of actor and director, I reconciled with the genre, and does so by engaging in a spectacular plant and very classical narrative (the band of outlaws who break the fragile order of an outpost in the Wild West and the executioners mercenaries ready to restore) a unique story of friendship between two men whose icy calmness hides unexpected disturbances.

Virgil Cole is the classic western hero "in one piece, clear mind and reflexes, the gait sure who knows he can win every battle at first glance. And yet ... and yet the inscrutable Virgil Cole suffering from some form of dyslexia that forced him to ask for help to come up when "he is not a word." Yet Virgil Cole, incorruptible sheriff eyes of ice, perhaps hides the desire to end to his eternal wandering and marry. Maybe right here, for Appaloosa. Maybe with Ellie, the pianist recently arrived in the city. His wish is fulfilled soon, too soon. Ellie proves fickle woman, desperate to find someone who can offer physical protection and economic security. If Virgil is to give them all the better. But when another rooster in the hen house ...

We see the consolidation of its image as a lawman willing to do anything to achieve the goal, but also to the gradual disintegration of some certainty, to sudden bursts of loss in an otherwise inscrutable gaze. And as Virgil Cole, rough Sheriff carved into the rock of the desert, next to his shows to be imperfect, corruptible, human. And as such, need to assert their individuality in a relationship with his neighbor: Everett Hitch, a former soldier and inseparable companion of wandering, a friend and confidant, adviser and bodyguard.

And it is in the relationship between Virgil and Everett that the large majority of the power of film, a western "modern" that makes the social dynamics and personal rather than the charm of his best weapons Frontier . Of course, fans of the western "classical" gather most of the issues dear to them: battles, shootings, chases, fights the saloon, the sun that blinds the eyes and dry skin, wild land that is lost horizon. Even the Indians and Mexicans. But Harris surprise: part of the disturbance, opened a few small crack here and there, put in the mouths of actors exchanging jokes that you do not expect.

really splendid dialogue, steeped in irony and pungent never predictable, and equally splendid performances by a cast in shape (Harris and Mortensen give us a couple of characters that will be remembered long), capped by a performance of a Renée Zellweger is set to perfection in that part of the woman apparently fragile, ma che sa perfettamente chi e cosa vuole, e come ottenerlo. Forse più “classica” la figura di Bragg nel suo essere villain a tutto tondo, ma Harris si diverte a giocare anche con lui, sparigliando le carte in tavola quando forse lo spettatore non se lo aspetta più.

Una regia pulita ed essenziale, ma non per questo emotivamente arida, e una fotografia di grande impatto completano il comparto tecnico di un film il cui risultato finale supera di gran lunga la somma delle sue parti: lunga vita al western.

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Sony PRS-650: la rat-censione (una settimana da eReader, parte seconda)

La rat-censione del Cybook Opus è tuttora uno degli articoli più letti qui nella Tana. Più in generale, i miei post a tema eBook, editoria digitale & affini hanno portato al blog discreti picchi di visite: l’argomento “tira”, e a me, convinto sostenitore della “rivoluzione digitale” in ambito libresco, la cosa fa molto piacere, molto più piacere di qualche centinaio di click in più o in meno (che comunque servono a pompare un po’ di autostima nelle vene del mio ego, sempre bisognoso di rassicurazioni!).

Il Sony PRS-650 è il mio secondo eBook reader: per ovvi motivi non includo nella statistica l’iPad, in favore del quale avrei comunque più di una lancia da break. However, for reasons equally obvious the experience of reading on a backlit tablet is in no way comparable to that offered by a reader technology eInk. But this is trite banality: we fly over and let's go into detail in the analysis of the last born of the house in Tokyo.

First, because this player and not, say, the new Booken Orizon ? Simple: with the Amazon Kindle, the PRS-650 (and 350, his younger brother) is the only eBook reader on the market with screen eInk Pearl. eInk Pearl means more contrast, background whiter, more defined characters: in essence, the new screens Pearl offer a reading experience much more comfortable and similar to that on paper compared to the "old" Vizplex or, worse still, the new Sipix (dall'Orizon exploited for example). Because you can get an idea a bit 'more precise than what I'm talking about, I refer you to this article appeared a few weeks ago on eBookReader Italy.

eInk vs Pearl. Sipix Vizplex vs: and the winner is ... Needless to say?

Note the difference in contrast and definition between a panel and a Pearl
Sipix: Bookeen, it was better if you kept the Vizplex you!

Why the PRS-650 and the Kindle? Why the Amazon Kindle is good or bad, and I did not really want to be forced to convert each kindleformato in ePub, or of being must be tied to a single store: Thanks, I think Apple already mom to make me brainwashed !

And finally, why 650 and not 350? Why read on a screen 6 "is better than doing it on a 5-I am speaking from personal experience. Satisfied? Well, let's proceed.

The first impression the reader is better: compared to my old Opus, the PRS-650 proves once more solid and better finished. The shell (black, in my case), designed to provide a safe and solid grip with one hand, it is sturdy and compact and features on the top, the power button, SD card slot and one for nib. On the bottom we find the miniUSB connection, one for the earphones and volume control buttons: the PRS-650 can play it also functions as a reader mp3. Completing the outfit "physical" the classic panel on all the Sony reader and mother of a screen 6 "surprisingly white.

As mentioned above, power will immediately notice the superior quality of the panel and the absence of the Pearl fatal flaw of the old Sony screens, that annoying reflective effect (because of a bad implementation of the technology touchscreen) which made it very difficult to read under direct sunlight. Defect which, fortunately, was completely corrected in the latest reader.

The homepage of the PRS-650

The menu is simple and intuitive, in the best traditions of the Japanese: divided into three main sections (Home, Applications and Settings), allows quick access to all major functions (including the very useful ability to see all our records directly from the homepage, without leafing through the menus). Among the applications, besides the above mentioned mp3 player, there are also an image viewer (obviously in grayscale), a program of handwriting using pen and a great way of dictionaries (we are present 11), which integrates naturally with the eBook.

But let the experience of reading itself, then that is the only thing that really concerns us. As you read on the PRS-650? Well, indeed, great: not only thanks to the panel Pearl, of which I will never stop singing the praises, but also thanks to an amazingly responsive touch, whether by pen or finger through. The screen refresh is not ideal, but it is certainly an improvement over the older reader I have seen at work. Pages can be turned with the buttons located at altitudes below the screen, and "flipping" with your finger. Obviously, not being a multi-touch panel experience is quite different from that offered by iPad, but this is more of a comfort that never hurts, indeed.

double click on a term will automatically open a preview of the definition from the dictionary is preselected (but you can change in a race) and then clicking on the button of the dictionary will open the whole page, with the dfinizione extended. You can also search for other instances of that term within the text or create a quick note, by writing a mano col pennino sia attivando una tastiera virtuale (non molto reattiva a dir la verità).

Premendo il tasto “options” si accede poi a tutta una serie di funzioni complementari, dall’aggiunta di segnalibri alla gestione e consultazione delle note prese in precedenza (o alla creazione di nuove annotazioni), dall’accesso all’indice e alla cronologia delle pagine visitate alla regolazione del contrasto e delle definizione del testo. Come tutti i principali reader sul mercato (o almeno credo), il PRS-650 offre inoltre la possibilità di leggere in landscape mode.

Il tasto MP + is instead the choice of font size (but the difference between "Small" and "Medium" is too strong, a firmware update would be welcome), the page zoom and other viewing options. But you can not change the font (the reader will automatically show that embedded in the file) or the line spacing, rather useful option offered by the Kindle.

In short, the PRS-650 is a great product, perhaps the best eRader currently on the market: if you're going to throw you headlong into the magical world of the eBook and you have to spend € 250 (to which will be added altri 30 se vorrete dotare il vostro pargolo di una custodia degna , dato che in dotazione non ce n’è nemmeno una in cartapesta), andate a botta sicura, non ve ne pentirete. Se invece il vostro budget è più limitato, allora vi consiglio il Kindle: vero, c’è qualche sbattimento in più da fare, ma il rapporto qualità/prezzo che offre è al momento senza eguali.

Ah, dimenticavo: fatta eccezione per il PRS-950, disponibile solo sul mercato americano, come tutti i reader Sony nemmeno il PRS-650 è equipped with a wireless connection, let alone 3G. Personally it does not bother me at all: surfing on a screen eInk is pure folly, and the possibility to buy directly from the eBook reader is an optional minor.

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dotEPUB

Brief seat to useful application: I'm sure many of you already know, but you never know.
The app in question is called dotEPUB and its operation is as simple as a click and the page currently open in your browser (the extension will take account only of the main body of text) will be converted into a file. Epub, so can be consulted at a later date on any reader.
very useful to read or post articles very long without extricate our eyes to the monitor, the application can be installed in three different ways:

• bookmarklet for your browser: you can drag the logo in the header of this dotEPUB official page directly in the bookmarks bar of your browser. When you want to save content into a file. Epub just click on the bookmark and you're done. Below is a short video demonstration.

• Extension for Google Chrome can be installed directly from this page the Chrome Web Store.
• Widget for web pages: web dotEPUB you can "pick up" the code directly from the site dotEPUB .