Fiction -- History and criticism; Political fiction -- History and criticism; Politics in literature
After a quarrel with Jean Colbert, Tony Maggiore in _Caesar’s Angel_
berates her friend Al Piazza: “You talk so big about it making no
difference between American and Italian girls. You ever hear a good
Italian girl open her mouth about politics? You hear her insulting the
men?” This assertion is contradicted by Stella in Silone’s _A Handful
of Blackberries_, but even were it completely true, it would be one of
the minor differences between American and Italian political behavior
patterns. Immensely different historical antecedents separate the two
peoples. The Italian, with a background of autocratic rule except for
comparatively short intervals, has played his political role on a far
different stage from that of the American. But there is more to it
than just politics. The economic bases which help to form political
groups have produced in Italy a stratification in which the layers are
more widely separated than any in America. The migrant fruit pickers,
the dust-blown Okies, the exploited miners in America seem well off
beside the systematically persecuted peasants and submerged city
_lumpenproletariat_ of Italy. The Italians at the other end of the
scale are just as far from the norm. Gould, Fisk, and Vanderbilt may
have owned railroads, but Prince Torlonia owns immense ranges of the
Roman and Tuscan countryside, together with 35,000 acres of the Fucino
basin worked by eleven thousand farmers. But this great gulf between
classes is only one of the factors which appear responsible for Italy’s
political ills.
Silone concentrates mainly upon the peasantry in his novels. His heart
is close to them, and his description is sympathetic. But he does more
than set forth their sufferings. His books also diagnose the cause of
their problems and suggest solutions. Many of his peasants appear like
credulous, superstitious children. The four-day thunder and lightning
storm which nearly sweeps Pietrasecca off its mountain in _Bread and
Wine_ is blamed upon two lovers who have gone to live in a house
considered damned. Don Paolo watches the gathering of a crowd which is
swept into such a hysteria by its roar of “CHAY DOO! CHAY DOO! CHAY
DOO!” that it forgets to listen to the oracular radio voice it has
come to hear. Silone pities them: “a people whose wisdom was summed
up in a few proverbs passed down from generation to generation, had
been literally submerged and overwhelmed by propaganda.” Don Paolo
also blames this ignorance upon the Church in Italy. Like his teacher
Don Benedetto, who was said to have called the reigning pontiff “Pope
Pontius XI,” Don Paolo feels that Italy needs
A Christianity denuded of all mythology, of all theology, of all
Church control; a Christianity that neither abdicates in the face
of Mammon, nor proposes concordats with Pontius Pilate, nor offers
easy careers to the ambitious, but rather leads to prison....
Public-domain text, read in full here on John Shaqi.
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