Matteo Stella is a family man, as he stands in the book. All his thought and action revolves about seeing his wife Anna (49), daughter Eleonora (17) and son Stefano (13) happy and free. Any own needs, he provides disregard.
Matteo guided wonderful ideals. He relies on reason and insight, the strength of the arguments and the work of a consistent role model. He would never force others to an alien will, their development set limits. Judging already about other he prepares scruples. “Bisogna lasciare agli altri il loro spazio, Farli sfogare, rispettarne l’autonomia anche se la tua corrode serenità.
” Thanks to this concept and Matteo’s personality, the family is a haven mutual understanding, tolerance and harmony , Children, it seems, have the ideals and virtues key internalized as desired. Yet cracks do in Matteo’s world.
Anna, once critical of capitalism student also depends as an entrepreneur yet rebellious ideals by. With provocative campaigns it has established an advertising agency in the market.
Their incomes justify the middle-class living standards of the Roman family. Matteo Anna has kept his back to his own career (he is a software engineer) waived. That she had with her closest associates an affair (or maybe still does), he knows, but builds on it that they can not jeopardize Anna’s ties to her family.
Unrestricted happy Anna is after all not. The freedom that all Matteo admits she does not really free for their self-discovery; in view of his role model, she feels inadequate and a bad mother.
In this position she holds back, although they often Matteo wants a grab their access to the children.
Eleonora, Papas princess has her father always admired and loved unconditionally. Now she takes him into custody when Anna and Stefano turn against him. Nevertheless, they concealed their recent antics before him. Lorenzo, a no-good from the road (nicknamed “il Canaglia”), noted that he and Eleonora can not land if it is not a better person at a. This in turn makes it more interesting for the girl.
The most profound problems has Stefano. His school career threatens soon to crash, as he defiantly refused any cooperation for some time. Intellectual capacity he has, but that is no recognition. His enthusiasm for astronomy merely provides the occasion to tease him with his family name and a children’s song ( “Stella stellina, la notte si avvicina.”). His athletic achievements are not enough to be taken seriously, neither during swim training in the football team under the merciless, vulgar macho coach “Mr. Magni”. He must permanently with the humiliation of the noisy pack leader grapple, and Francesca from the ballet group he admired from afar, remains out of reach for him.
Anders believes Matteo, the family Stefano has no orientation. With the big sister and her strange acquaintances he can not do anything, not even speak more without jibes. Papa has nothing but the usual sayings for him, and mom is never home. His rage brings the boy in wily provocations against the father, shouting at the same time for freedom and for regulation and those Matteo nevertheless never has an engagement surface. Why can he not have a father like all the others have, where there is no thought and no doubt?
Matteo noticed how his son slipping away from him. Amazed, he also notes, as a creep “Mr. Magni” the affection of his flock and the recognition is able to secure their fathers such as by a grotesque combination of shameless degrading, brutal body language and clumsy encouragement ( “Tarchiato, il collo taurino, il vocione, gridava parolacce e bestemmie … poi mister Magni se lo strinse al petto fino a fargli male -. Domenica gli fai due gol e li mandiamo a casa Promettimelo -…. Va bene, mister “)
in two parts of equal length with no further breakdown tells Simone Giorgi (* 1981, Rome) in his first novel the course of a single day. It is December 12, 2003 in the prestigious escalated (it being invisible to the backdating of the story the slightest reason). Already the night was unnerving. Stefano played in his room tennis against the wall, not without the father previously refined hands to bind ( “Colpo, silenzio, colpo, silenzio, colpo, silenzio. Lo aveva fatto per strappare Matteo dalle retrovie e trascinarlo sul campo della Battaglia finale, . “)
Anna must present that day with her team, the concept of an extravagant campaign papà qui non può entrare: spingerlo ad aprire senza permesso la porta su cui un c’era cartello scritto a mano.. Whether they delighted the automaker or scared, decide on the weal and woe of their company. Eleonora is to drive on the motorino to the sea with Canaglia. Stefano stole a fan scarf and finally want to impress Francesca, but he also knows that a blue letter from the teacher is on the way.
The action does not protrude too much from the mundane out. Business, school, sports, joy and sorrow adolescent friendships, the struggle for a viable slalom run and growing, consistency and understanding – what family He has not grapple However
The external action is only the carrier film? for what Simone Giorgi really interested. Like a seismograph he analyzes every emotional impulse in this family. No step, no look, no word, no gesture, no sensation, which is not a reflection, a reminder, a doubt triggered a fear. The author proves in all four perspectives as astute observer and convincing formulators.
But what is his concern about the artful representation at? We see how Matteo Beglückungskonzept fails, but the reason remains open. Is it the stubbornness with which he runs through it? Flexible pragmatism would be the easier way. It would be easy to finally show once clear edge to put on authority and cold rules, as expected, his son and his wife from him. to remain consistently faithful to seek dialogue to raise understanding him against it costs greatest effort and discipline ( “La gente pensa che essere miti sia una fortuna, beato lui, non si arrabbia mai. La gente non capisce nulla. Bellessere miti è .. uno sforzo senza pari”)
Or is Matteo concept wrong – his humanity, his faith in reason, his obsession to want to see everyone happy? In addition there is a lack of tangible counter-positions. The story is simmering in front in their own juices. Like other contemporaries think and act, penetrates in too little. And yet just the Italian family tradition offers a wealth of interesting variations between urkatholischen, patriarchal, matriarchal, rural and metropolitan embossed patterns, with setups of large families to single parents and convenient mammone -Nestern. Although experience all four characters that than the Stella family are other world views, and Matteo knows all the arguments well enough. But the bottom line is they did not convince him. Neither discussion nor reflections nor the plot ultimately lead to more than the banal insight. How’s it tackles in raising children – it is always wrong.
Or is Giorgis Roman even a general rejection of the outdated institution of the family that is overburdened and overwhelmed its individual members? Matteo refuses to allow families to disintegrate, even if it is just because every child discovers own interests in growth and development.
Too many positions remain ambiguous. Each protagonist has reasonable and legitimate desires, but then often acts impulsively, without reflection. This is deeply human, only: What should be the vast superstructure of Matteo’s principles? If he struggles with his daily life, it suggests itself stop to a network even knitted theories: “tu hai una teoria: […] respira, prima di dire qualcosa di cui ti pentirai E un’altra. Siamo esseri umani, mica palline since biliardo che devono sottostare alla fisica classica secondo cui a ogni azione corrisponde una reazione uguale e contraria. e un’altra. e un’altra. ”
So Simone Giorgis suffers first fruits of mismatches. The psychologizing narrative is an all too flat, undynamic plot about everyday topics basically over, fatigued the elaborate contemplation, with no result. A stronger gathering would have made the book charming; the story could have been processed without loss to 120 pages.