Saudade,
Bevis Editore, Milan
.
free space, as white as a piece of paper on which pens, sensitivity and experiences contribute to the formation of a single body of literature without borders and cultural expression. It goes from loud places of surreal silence of a childhood of Puglia Montrone, the equally surreal tale of Herrera lost in the solitude of a life aimed at the production, from the streets of Genoa Olivieri, where it depletes the prank d’un bimbo che sogna le distese degli indiani ma che da quelle strade invece non uscirà mai, ai ghetti di New York di James dove basta gridare a un nero che è un ladro per sparargli addosso. E ancora, si vivrà il viaggio freakettone di Mirra e il viaggio nelle fessure di ricordi e guerre nella Jugoslavia di Nenad, o la fuga tra morte e poesia nell’introspezione di Stanisic...
Dalla postafazione di Saudade:
“Narrasud è un suddito ribelle…” con queste parole cominciava l’esperienza della rivista bimestrale Narrasud, che uscì per tutto il 2000 e che viene oggi ripresentata, in volume, con un nuovo titolo e un nuovo editore, in alcuni suoi contributi significativi.
The idea of \u200b\u200ba literary magazine I was ein migration following a series of lengthy discussions with a dear friend, Gianpaolo Ferrara, a young writer of Benevento who now lives and works in America. "Don Pablo", this is the nickname for Gianpaolo fell to his game to declare the regressive Piedmontese Italian unity against the "civilization of Bourbon", was immediately enthusiastic. According to him the literature of migration could be (is) a key to understanding both the formidable contemporary literature of migration itself. For this reason, a magazine that carry the "story of immigrants" was welcomed by Pablo with admirable commitment and it immediately became the main organizer. If something good Narrasud said and written, as we believed it spontaneously when the magazine received positive reviews from newspapers and magazines, this is mostly thanks to Don Pablo, sober throughout the day, contacted writers, read and reviewed carefully the texts that came in surprising quantity and quality. Experiment design and collection of texts, followed his surprise. The various stories, articles and various documents that we received from different parts of the world seem to be extremely rich and satisfying that we thought would be Narrasud. In short, they started to have the materiale per comporre la rivista ed eravamo sempre più convinti del nostro filo conduttore. Narrasus sono scritti sull amigrazione, ma anche e soprattutto percorsi soggettivi di migranti.
Concordammo che i “percorsi” avrebbero dovuto convertire l’immagine consueta del migrante come “vittima” dei processi di trasformazione in atto. Ciò a cui eravamo interessati erano, da un lato, le traiettorie di un individuo che agisce nei rapporti sociali, dall’altro quell edei “movimenti” di un corpo collettivo che fa pressione ai confini dei paesi occidentali speranzosi, attraverso legislazioni di contenimento e regolazioni, di poter governare il fenomeno. È indubbio che molti di coloro che decidono di esodare from their lands of origin are victims of exploitation and exclusion, even when ignorance and racism; Narrasud, however, has sought in particular to put in the features Risle attivedi individuals included in the social processes that affect the change process themselves. The migrant, then, as a subject, but a subject that does not respond to the orders of the master, who does not stand still and helpless before the various disasters that rain down on him, but rather chooses to move, to change the place collectively and become rebellious.
A good way to show this reversal of direction seemed to us to dedicate a portion of the magazine to the "life stories" of individuals, couples and entire communities. The Kurds in Calabria, South American and African women in Rome in the most wretched and commercial work in the "care for people," as well as stories of Italian immigrants to America in the early '900, were some of monographic themes addressed in this column, now absent in this new publication.
One aspect that particularly struck me then, talking to refugees and immigrants who have worked with NarraSud concerns they had self-perception of their migration. For almost all of the transfer was the result of an intricate combination of desires and basic needs. From the second you try to escape, to the first wants to reach. In this sense the migrant is that in any physical location, this tension of living movimentocome hope that attempts to set up in places where transit.
of migratory paths, displacement and hopes spoke Narrasud. This approach to trace in part to the purely narrative of saudade as if it is true, as then, that the narrative of migration is simply the story of the desires of migrants' freedom from any constraint. Francesco Maria
Pezzulli. Saudade
The anthology, edited by James Nicholas, was published in 2003 by Francesco di Milano Editore Bevis ( www.bevivinoeditore.com ).
It was attended by the following authors with the following Written: Gustavo
Basz with "Three paintings with flowers."
Dekhis love with "cruise" with Slobodan Ilic
"When good"
Komla-Kossi Ebri with "manuf.
Kelvin Christopher James with "The vile" Christian
Mirra, with "Five years ago, the summer" with Joseph Montrone
"The man who played the silence."
Nenad Veli Kovi with "crack". Peter Oliva
with "The Apprentice" with Robert Oliver
"Yellow Wolf"
Gabriele Pierantoni with "Powder". Albert Russo
with "Written in Blood".
Segre Ernesto Herrera with "Nora and Armenia."
Bozidar Stanisic with "everything seems ok."
Urrolabeitia with Alejandro "Loscialle"
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