La mia maledizione de Alessandro Roma Review

Everything appears to be clear in the life of Emilio Corona and his younger brother Carlo. Your papà , a successful maker, has acquired the construction company of his father and expanded – in Oristano, on the coast, in Nuoro – and the two are to expand the empire and consolidate. Far ahead, he has purchased for his sons all the hill by the sea, the building is once cement their prosperity

Carlo blends smoothly into this program. He is a cheerful, pleasing, unproblematic child of the time (the nineties), precocious, carefree, daring

Emilio, the narrator, is more sensitive, more vulnerable, more difficult of mind -.

and critical. he calls the expensive selling series cottages and palazzi ( “vomitato sopra le colline … gettati a sfregio since mio padre”) contemptuously “case by conigli”. And yet, Emilio would have been a smooth path when papà would not have in the spring of 1991 transported the whole family from Oristano to Nuoro, his hometown. There overtaken the five-year-olds be fate that it – internally makes the nerd with misanthropic, egocentric and sadistic tendencies – regardless of later social success.

In retrospect, the thirty-something is making the painful process of meticulously and plays with virtuosity on the keyboard psychological analysis (his own personality as that of others) and linguistic presentation (in fact as poetically: “bevevo source parole come un soldato in trincea beve le lettere dell ‘amata “).

in Nuoro, whose provincialism does not tire to document Emilio (” la città in cui tutti parlavano in sardo e non italiano, vestivano di orbace e dormivano con le pecore, se non se le scopavano perfino “), the professoressa is the new addition to Pasquale Cosseddu, the obese sit still, everyone just calls” La Fogna “.

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The terrible nickname ( “sewer”) carries the fumes bill that emits its always too warm clothed body down to the feet

Emilio fits resistance of the seating arrangement and the resulting exclusion. Soon have his his peers to “figlio dell’ingegner Corona” is respected as he was known and loved in Oristano and Nuoro, pushed as “l’amico della Fogna” sidelined.

Emilio notes that Bank neighbor as one intimately contemptible is not. Cosseddu smells strongly, but he’s gentle, open-minded, helpful, frugal, hardworking and tidy. He is a keen observer and a poet. It is especially his humble origin, the limits it. The father had previously put all the meager savings in a tiny apartment in a low block of the company Corona a few years, then died unexpectedly. iron save the two bereaved and strive honestly, but as the mother of all payment obligations, like son, the requirements of the liceo classico hardly meet.

Common preferences ( “camminare nel bosco senza parlare, e raccogliere rami dalle forme bizzarre oppure buttarci tra le foglie a odorare la terra, questa era una cosa che piaceva a entrambi, e che solo con lui potevo fare senza vergogna “) can appear friendship possible. But while Cosseddu makes no secret of his admiration for Emilio and future projects cooking up joint seclusion from the filthy world, Emilio highly developed conflicting emotions.

Torn between contempt of unaesthetic underdog s affection for his creatures and the vain need for confirmation of its superiority ( “a certi fortunati, torna comodo che ci siano i poveri nel mondo … anche per ottenere un grande piacere spirituale dal fatto di semplice eater considerati esseri umani di un gradino superiore rispetto agli altri. “) also enjoys Emilio two seeds trips, he also speaks of” amicizia “. On the other hand, he suppresses any budding friendship sensation that would otherwise him in the eyes and decrease from themselves. As a build up in him evil inclinations, he knows how to explain it and justify subtle and lets them run their course unchecked. So it is never open to Cosseddu; only praises and he encouraged him, he cursed him inwardly; he makes him promise that he decides not to redeem the same moment

Emilio settles down in his love-hate relationship, and of contempt arises hubris. He considers Cosseddu as slaves at the mercy of his mercy ( “avrei potuto […] fare tutto il male che potevo a Cosseddu e tradirlo fin nelle ossa perché semplicemente avevo voglia di una trasformarlo in cosuccia che non vale niente “). At the same time he understands that Cosseddu dominates him by letting him he the center of his thinking ( “il drago che mi separava dalla felicità”), even become his life meaning. The education on Hegel’s “dialettica servo padrone” provides Emilio philosophical superstructure for this knowledge. Early suspects Emilio that “la mia Fogna sarebbe stata per semper.”

In this dichotomy developed both their lives. Repeated decides Emilio that he Cosseddu once and for all of his life must banish – to the next moment back in touch with him to take. Detachments seem possible return when the family Corona Oristano, pulls Emilio to study in Cagliari when he married when he performs with his brother unequal the construction company. But he thwarts his will by ever new – Intentional -. Entanglements involving his family and mother Cosseddus

As the author of this idiosyncratic psychological scenario developed is astonishing. As unusual Emilios thoughts, feelings and actions might be ( “uno come gli altri” will he be often – and then like in his role as an outsider; Girls near to him, but he is unable to maintain a normal bond; with the smart little brother, he lives a constant rivalry), they are consistent, comprehensible and convincing spread. The precise and objective narrative, the outspokenness of his reflections ( “… restituire a quella gente – io che potevo -. Tutta la dignità che la vita gli aveva negato E invece rifiutai.” – “proprio perché il momento e tutta la giornata con Cosseddu erano stati così che belli sentivo l’assoluta urgenza di rovinare tutto “-” la maldicenza, che negli altri tanto disprezzo, si impossessa con tutte le forze di me, non lasciandomi, dentro l’animo, neppure ancora un angolo puro e pacificato “) takes the reader caught for Emilios view without giving us the closer would (Cosseddu is sympathetic); one thinks – stylistically – to the ‘classic’ adolescence literature (Tonio Kroger, Törless, Beneath the Wheel, Demian …), allows a continually and anxiously awaits on where this may lead everything: his senses? Punishment? Salvation? ? Destruction

The plot develops with its protagonists on numerous social and human conflict areas: urban and rural areas – untouched nature and construction boom – poor and rich – descent and ascent – power and powerlessness – humility and arrogance. Platt, it is towards ever; de Roma falls into clichés and presents no solutions.

The fact that his book can not ultimately satisfy like his distant relatives a century ago, is neither the psychological concept yet insufficient literary talent, but the missing amount. As the title suggests, the atmosphere, the plot structure remains bleak, depressing and hopeless spiral with minimal incline. The longer Emilio agonizes, the longing one expects whatsoever twist, but remains off. The output, multiple ominously announced, approaching consistent: “Senza di me e le mie false promesse, Cosseddu … avrebbe trovato … il modo di crescere dritto, evitando di piegarsi al sentimento; giacche, fin da bambino, aveva capitoline di .. essere nato per soffrire Mentre io gli ho date la legna e il fiammifero, e sono scappato via quando ho visto che accendeva un fuoco “<

At the end of a side note: For us tourists is attractive, such as insider Emilio the scenes characterized (Oristano, Nuoro, Cagliari, Olbia and its surroundings, some West coast regions): He recorded their properties without any “retorica della nostalgia sulla Sardegna autentica”

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