View Silvia Avallone “Black Heart”

Silvia Avallones “Black Heart” is messy and power -searching

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“Black Heart” by Silvia Avallone

In an approach To think new, the Swedish government has a proposal that the era of criminal authority must be reduced to 14 years with a maximum fine of 18 years. Although this is investigated in various referral agencies Silvia Avallones Novel “Black Heart” in Swedish in the translation of Johanna Dienberg. It is the sixth of Aradallone after the brilliant debut novel “Steel” (2010). It told us fresh and raw, right but nuanced, about two life and dreams of two teenage girls in the industrial city of Piombino where everything revolved around the steel mill.

With “Black Heart” Avallone continues to write from the perspective of the perspective. The book is about Emilia, who selected a 14 -year prison sentence after a crime in her teenage years. Now she is around thirty and has searched for the judgmental looks of the world to the deserted village of Sassaia. There she meets the primary school teacher Bruno, also traumatized after he had lost his parents as a child in a cable accident accident. They start a passionate but tiring love affair and Emilia, who have been in prison and have taken an art diploma, gets unexpected work in a church to restore a black Madonna figure.

In a remark at the end, Avallone states that the novel is fictional, but is based on real meetings with boys in a prison care institution in Bologna, with whom she has held writing workshops and reading circles. Conversations with the juvenile court, the prison director, teachers and social assistants have also contributed to the fictional substance.

Unfortunately this has Interesting and important backgrounds have resulted in an effective and messy novel. Perhaps it will be as it is to wear so many good intentions when the main goal seems to be to determine the world: the evil must be converted into good, conviction to reconciliation and, I can only think, whore to madonna, because under Emilia’s sticky make -up and not cultivated outside is something clean, just like the book.

It’s hard to think about Elena Ferrantes Naples quartet when it comes to the style of Artallone: ​​a kind of unabated talkative and drastic Tell Don’t Show-Proose with characteristics of soap opera, which can be quite refreshing compared to the fine -grain design standard that prevails in Swedish literature. But where I was swept stories in Ferrante’s winding, I am often exhausted by Avallone’s ambiguous and at the same time complicated novel.

For some reason Is it Bruno that tells the life of Emilia, however, through a regular perspective of the third person, aimed at Emilia, but in which he, the himself, suddenly breaks in with looks from his own life. In the beginning it is hinted that he looks at Emilia, he intercepts conversations, tries to understand who she is by reconstructing and introducing herself. His deep transparency in Emilia’s and internal Marta’s friendship in prison still remains incomprehensible, until the end when it appears that Emilia really told him. And then he wants to write the whole story because “definitely help words”.

But whose words? Are they his own descriptions of the sexuality of women, ringing and short skirts? Or Avallones, in a strange self -pulp, although in the last word she gives the boys in the youth prison, without which she could not write the novel?

I give one out A lot of time to think about this, as I am frustrated and more cynical, wonder what it is for terrible crime that Emilia has committed. What is the strange mystification, when everything else is printed? The efforts of the novel in crime itself grow for each side. It feels like a pagon punk punk of 370 pages.

I am left with a sense of fear of touch and moralism with the author himself, and a miracle about whose words that really help who.

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