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Over the last three decades, Italian crime fiction has demonstrated a trend toward a much higher level of realism and complexity. The origins of the New Italian Epic, as it has been coined by some of its proponents, can be found in the widespread backlash against the Mafia-sponsored murders of Sicilian magistrates which culminated with the assassinations of Judges Giovanni Falcone and Paolo Borsellino in 1992. Though beginning in the Italian language, this prolific, popular movement has more recently found its way into the English language and hence it has found a much wider international audience. Following a brief, yet detailed, history of the cultural and economic development of Sicily, this book provides a multilayered look into the evolution of the New Italian Epic genre. The works of ten prominent contemporary writers, including Andrea Camilleri, Michael Dibdin, Elena Ferrante, and Massimo Carlotto, are examined against the backdrop of various historical periods. This "past is prologue" approach to contemporary crime fiction provides context for the creation of these recent novels and enhances understanding of the complex moral ambiguity that is characteristic of anti-mafia Italian crime fiction.
Over the last three decades, Italian crime fiction has demonstrated a trend toward a much higher level of realism and complexity. The origins of the New Italian Epic, as it has been coined by some of its proponents, can be found in the widespread backlash against the Mafia-sponsored murders of Sicilian magistrates which culminated with the assassinations of Judges Giovanni Falcone and Paolo Borsellino in 1992. Though beginning in the Italian language, this prolific, popular movement has more recently found its way into the English language and hence it has found a much wider international audience. Following a brief, yet detailed, history of the cultural and economic development of Sicily, this book provides a multilayered look into the evolution of the New Italian Epic genre. The works of ten prominent contemporary writers, including Andrea Camilleri, Michael Dibdin, Elena Ferrante, and Massimo Carlotto, are examined against the backdrop of various historical periods. This "past is prologue" approach to contemporary crime fiction provides context for the creation of these recent novels and enhances understanding of the complex moral ambiguity that is characteristic of anti-mafia Italian crime fiction.
The Routledge Handbook of Crime Fiction and Ecology is the first comprehensive examination of crime fiction and ecocriticism. Across 33 innovative chapters from leading international scholars, this Handbook considers an emergent field of contemporary crime narratives that are actively responding to a diverse assemblage of global environmental concerns, whilst also opening up ‘classic’ crime fictions and writers to new ecocritical perspectives. Rigorously engaged with cutting-edge critical trends, it places the familiar staples of crime fiction scholarship – from thematic to formal approaches – in conversation with a number of urgent ecological theories and ideas, covering subjects such as environmental security, environmental justice, slow violence, ecofeminism and animal studies. The Routledge Handbook of Crime Fiction and Ecology is an essential introduction to this new and dynamic research field for both students and scholars alike.
This book examines how Italian Americans have been represented in cinema, from the depiction of Italian migration in New Orleans in the 1890s (Vendetta) to the transition from first- to second-generation immigrants (Ask the Dust), and from the establishment of the stereotype of the Italian American gangster (Little Caesar, Scarface) to its re-definition (Mean Streets), along with a peculiar depiction of Italian American masculinity (Marty, Raging Bull). For many years, Italian migration studies in the United States have commented on the way cinema contributed to the creation of an identifiable Italian American identity. More recently, scholars have recognized the existence of a more nuanced plurality of Italian American identities that reflects social and historical elements, class backgrounds, and the relationship with other ethnic minorities. The second part of the book challenges the most common stereotypes of Italian Americanness: food (Big Night) and Mafia, deconstructing the criminal tropes that have contributed to shaping the perception of Italian-American mafiosi in The Funeral, Goodfellas, Donnie Brasco, and the first two chapters of the Godfather trilogy. At the crossroads of the fields of Italian Culture, Italian American Culture, Film Studies, and Migration Studies, Italian Americans in Film is written not only for undergraduate and graduate students but also for scholars who teach courses on Italian American Cinema and Visual Culture.
In 1992 Italy was convulsed by two brazen Mafia assassinations of high-ranking officials. The latest "excellent cadavers" were Giovanni Falcone and Paolo Borsellino, the Sicilian magistrates who had been the Cosa Nostra's most implacable enemies. Yet in the aftermath of the murders, hundreds of "men of honor" were arrested and the government that ad protected them for nearly half a century was at last driven from office. This is the story that Stille tells with such insight and immediacy in Excellent Cadavers. Combining a profound understanding of his doomed heroes with and unprecedented look into the Mafia's stringent codes and murderous rivalries, he gives us a book that has the power of a great work of history and the suspense of a true thriller. "Riveting...a well-paced and highly informative account stocked with well-drawn characters."--Philadelphia Inquirer "Masterful...[Stille] delivers a stiletto-sharp portrait of the bloodthirsty Sicilian mafia."--Business Week
"The Angel of Numbers" is based loosely on the life of the Italian anti-Mafia crusader Judge Giovanni Falcone (en.wikipedia.org/wiki/Giovanni_Falcone). Inspired by Alexander Stille's exhaustive 1995 non-fiction book, "Excellent Cadavers," "The Angel of Numbers, " tells the story of an Italian Judge, Paolo Borromeo, who takes on the mafia in 1982 Italy after a man dressed as a monk is found dead in Milan, clutching a piece of paper with the number "11" on it. Soon, other cadavers start showing up, each with a number counting down to zero and each higher up in the Mafia hierarchy, while at the same time, Claudio Schiavetta, a semi-mythical mafioso, turns himself in to authorities in Sao Paolo and says we will speak only to Borromeo. What happens next is a struggle for life and death against the Italian Mafia as Borromeo tries to understand the connection between Schiavetta and the invisible Mafia war taking place in Italy.
For fans of Daniel Silva and David Baldacci comes a gripping thriller based on real world events that will have you riveted until the final page is turned. When NYPD detectives Paul Rossi and Hamilton P. Turner begin investigating the Sutton Place murder of an Italian air force pilot, the last thing they expect is that they will and find themselves sucked into the potential cover-up of the Ustica massacre, the most horrific aviation crime in Italian history, in which all 81 souls on board perished, where Italian President Francesco Cossiga blamed a missile deployed by the French Navy for the disaster. But as they begin investigating, Rossi, recovering from a broken marriage, and Turner, an African-American opera buff, poet, and former lawyer with ambitions to be mayor, come up against NYPD bureaucratic obstacles and stonewalling by the Italian Consulate in NYC. Lieutenant Laura Muro, the policewoman sister of the victim, comes to New York to aid the investigation, but soon the trio find themselves in the crosshairs of the Gladio, Italy’s powerful, shadowy political cabal whose reach extends to the highest reaches of New York political and ruling class. From New York to Italy, Rossi, Turner, and Muro must uncover the shocking truth about one of the most notorious disasters in airline history, and how this infamous act ties to the present-day murder. Riveting, erudite, and surprising at every turn, THE MAN IN MILAN announces a major new voice in international thriller fiction.
The present volume is the first study in the English language to focus specifically on Italian crime fiction, weaving together a historical perspective and a thematic approach, with a particular focus on the representation of space, especially city space, gender, and the tradition of impegno, the social and political engagement which characterised the Italian cultural and literary scene in the postwar period. The 8 chapters in this volume explore the distinctive features of the Italian tradition from the 1930s to the present, by focusing on a wide range of detective and crime novels by selected Italian writers, some of whom have an established international reputation, such as C. E. Gadda, L. Sciascia and U. Eco, whilst others may be relatively unknown, such as the new generation of crime writers of the Bologna school and Italian women crime writers. Each chapter examines a specific period, movement or group of writers, as well as engaging with broader debates over the contribution crime fiction makes more generally to contemporary Italian and European culture. The editor and contributors of this volume argue strongly in favour of reinstating crime fiction within the canon of Italian modern literature by presenting this once marginalised literary genre as a body of works which, when viewed without the artificial distinction between high and popular literature, shows a remarkable insight into Italy’s postwar history, tracking its societal and political troubles and changes as well as often also engaging with metaphorical and philosophical notions of right or wrong, evil, redemption, and the search of the self.
When we think of the Italian Mafia, we think of Marlon Brando, Tony Soprano, and the Corleones iconic actors and characters who give shady dealings a mythical pop presence. Yet these sensational depictions take us only so far. The true story of the Mafia reveals both an organization and mindset dedicated to the preservation of tradition. It is no accident that the rise of the Mafia coincided with the unification of Italy and the influx of immigrants into America. The Mafia means more than a horse head under the sheets it functions as an alternative to the state, providing its own social and political justice. Combining a nuanced history with a unique counternarrative concerning stereotypes of the immigrant, Salvatore Lupo, a leading historian of modern Italy and a major authority on its criminal history, has written the definitive account of the Sicilian Mafia from 1860 to the present. Consulting rare archival sources, he traces the web of associations, both illicit and legitimate, that have defined Cosa Nostra during its various incarnations. He focuses on several crucial periods of transition: the Italian unification of 1860 to 1861, the murder of noted politician Notarbartolo, fascist repression of the Mafia, the Allied invasion of 1943, social conflicts after each world war, and the major murders and trials of the 1980s. Lupo identifies the internal cultural codes that define the Mafia and places these codes within the context of social groups and communities. He also challenges the belief that the Mafia has grown more ruthless in recent decades. Rather than representing a shift from "honorable" crime to immoral drug trafficking and violence, Lupo argues the terroristic activities of the modern Mafia signify a new desire for visibility and a distinct break from the state. Where these pursuits will take the family adds a fascinating coda to Lupo's work.
This history of Italy's Jews under the shadow of the Holocaust examines the lives of five Jewish families: the Ovazzas, who propered under Mussolini and whose patriarch became a prominent fascist; the Foas, whose children included both an antifascist activist and a Fascist Party member, the DiVerolis who struggled for survival in the ghetto; the Teglios, one of whom worked with the Catholic Church to save hundreds of Jews; and the Schonheits, who were sent to Buchenwald and Ravensbruck.