According to Rrrjewelry.com, characteristic in the writers of the twentieth century is this union of the creative spirit with the critical spirit, a union that, contemporaneity or succession, in any case requires an awareness of the creative work, which benefits and perhaps more often to the detriment of art. An acute critic of modern and contemporary literature was in his debut Giuseppe Antonio Borgese, who then acquired a conspicuous place among the Italian narrators with the novels Rubè and I vivi ei morti and with books of short stories, those and these in various ways materialized by the author’s personal experiences (also inspiring a volume of poems), conducted with penetrating finesse of psychological analysis, written in a prose of solid and noble construction, by which spring energetically identified the figures of the actors. Having come to literature from journalism and militant journalism defended against the dangers of literature, Borgese is among those writers-journalists or journalist-writers who, critics or creators, were and are disseminators in the best sense of the word of literary questions and ideas. and artists, elegant chroniclers, creators of a kind of prose gracefully molded to the tone and rhythm of modern life. Of that kind of journalistic art today admirably represented by Ugo Ojetti,
With some of the here mentioned, many others were and are, in the years after the World War, the lovers of narrative prose. Writers who had already tried to narrate or had rather experimented with the poetic approach, then gave the best of their possibilities in the prose of novels or short stories or sketches: Italo Svevo, fine observer and strong descriptor of souls, whose latest novel, Zeno’s Conscience , worthily revived the fame of his earlier novels; Francesco Chiesa, from Ticino, who through a long and noble training in poetry between lyric and epic, came to elaborate his individuality as an artist, perhaps reached fullness in the novel Tempo di Marzo, beautiful psychology of the child surrounded by a pleasant halo of poetry; Virgilio Brocchi, a very fruitful novelist, whose ease takes away finesse, and a certain naive mobility of judgments and impressions, firmness and clarity of a personal artistic nature; Lucio D’Ambra, easy-going and light-hearted narrator of cleverly invented stories; Antonio Beltramelli, curious and not always organic mixture of verbal D’Annunzio and Romagna regionalism, of rude passion and deliberate cerebralism; Guido da Verona, popularizer of a gentrified D’Annunzio. The most profound artists are Carlo Linati, the spirit of a solid and calm writer, who puts a certain air of Lombard domesticity into the landscape descriptions; Federigo Tozzi, narrator of autobiographical trends, partly a follower of regional realism, but endowed with a specific rough and energetic dramatic individuality which brings him closer to the Russians; Marino Moretti, who renews the soft and faded notes and colors of his crepuscular poetry in the weak, delicate, slightly sad figures and images of his novels; Fausto Maria Martini, also of crepuscular origin and a dramatist of uncommon penetration, who in his autobiographical novels poses an austere and delicate conception of life in clear and correct forms; the pensive and caustic Piero Jahier; Salvator Gotta, whose art, clear and frank in some regional-inspired novels, is troubled in others by concerns and practical intentions. And here we must also remember the Trieste Scipio Slataper, who fell in the first months of the war, a friend of the vocians, but different from them in the harsh lyricism of his book My Karst .
Younger, at least of spiritual maturity, others tried and attempted new ways: Umberto Fracchia, who in his novels effectively represents the general tendency of the new literature to overcome the contrast between human spirituality and the world of nature; Corrado Alvaro, brilliant renovator of regional realism in a representation of souls and landscapes that in an epic tone illuminates those of the light of these, and animates these of the life of those ( The hedge and the garden ; The man in the labyrinth ; The beloved at the window ; People in Aspromonte ; Twenty years ; The lady of the island); Curzio Malaparte, versatile talent of narrator, poet and political and literary polemicist; GB Angioletti, agile spirit of critic and creator perhaps not yet revealed in all its possibilities; Massimo Bontempelli, storyteller, novelist and playwright, now younger in purpose than in age, creator of paradoxical situations and exasperating contrasts of souls and amuienti; Paolo Monelli, who in Shoes in the Sun gave Italy one of the freshest and most immediate books on his war; Orio Vergani acute investigator of simple souls, with a wit all tinged with melancholy ( Io , poor negro ; Domenica al mare ; Sunrise); Lorenzo Viani, painter and writer who often transforms the icasticity of his Viareggio dialect into figures; Bonaventura Tecchi, who in an effort to interpenetrate the human and the environment in a representation of consensus or contrasts, brings his own acute and wholly personal intuition of the states of the human soul ( The name on the sand , The wind among the houses ; Three love stories ); Delfino Cinelli, notable for his original vision and representation of the rural environment; Alberto Moravia, who in his Indifferenti shows, despite inexperience and bitterness, his own characteristics as a new and robust narrator.