Some of his popular books are "Il Sole del Sabato" ("Saturday's Sun"), "Guenda," "La Voce di Dio" ("The Voice of God"), and "Adamo ed Eva."
Antonio Beltramelli is another writer who has studied literary form to great purpose and with it he combines imaginative gifts of an exceptional order. His earlier books, short stories entitled "Anna Perena" and "I Primogeniti" ("First-born Sons"), were well received. He has recently come back to similar presentations in "La Vigna Vendemmiata" ("The Harvested Vineyard"), which while not revealing the spiritual growth which his admirers expected from him, shows him, nevertheless, to be a man of parts. His chief defect is his ignorance of behavioristic psychology which is nowhere better shown than in this collection of short stories, "La Madre," for instance. Moreover, it is an ambitious writer who makes a story of these unromantic facts; a stupid man with some of the characteristics of the ox and the rat is married to a gross, slovenly creature who deceives him. A friendly neighbor opens his eyes and he finds her and her paramour in the brake and cane around the vineyard. On his way thence he encounters the parish priest and asks him if one would be justified in meting out personal punishment to such transgressors. "Perhaps yes, perhaps no" is the reply. When he comes upon the guilty couple he kills the man with the blow of a stick, then falls back upon the priest's words for justification.
"Gli Uomini Rossi" ("The Red Men") is his best-known romance. He has read and still reads Cervantes and Rabelais. Had he the gift of artistic presentation he might become a great novelist, but until now he has confounded embellishment with natural beauty.
Among the fiction that has appeared in Italy during the past year a few books call for mention, not because of their intrinsic merit but because it is indicative of the change that is going on in the minds of the common people which reflects particularly the thought now being given to social and psychological questions.
The American reader of Italian fiction cannot fail to be impressed with the poverty of subject-matter which it displays. This is explained partly by the fact that it is sometimes biographical and very often autobiographical—moreover, the family and social and religious customs of Italy do not make for novelty or variety in individual life. The zone in which all the details of existence is predetermined by convention extends much farther with them both up and down the social scale than with us. If man is independent of it to some extent woman is not, and since there is no object in chronicling the obvious, popular Italian fiction is apt to deal with excursions of man beyond his own circle and class. Another thing that has to be kept in mind is the position of women. The important woman in the life of the majority of Italians is the mother, not the wife. She is on terms of equality with her son and she retains much of the authority of the Roman matron in her children's married life. This it need scarcely be said is changing with the eternal flux of things.
Italy of to-day is a very new country. Whenever we as a nation do something which the Italians consider gauche or raw, and they are obliged to dislocate an inherent politeness by mention of it, they excuse us because we are so young. So one excuses an infant for some verbal or conductual infraction. In reality we are about a century older than Italy of to-day, and we have spent that time developing a "manner" that reflects our protracted habituation to freedom. That it is sometimes masked by arrogance and self-satisfaction is to be regretted. Hence our indifference to convention which is often painful to the foreigner. It is a mistake to think that it is only the upper classes of Italy who are beholden to unwritten convention and customs. In truth, subscription to them is more mandatory amongst the Borghesia and Il Popolo. With the gradual dissemination and acceptation of the doctrines of socialism, the equal rights of women, and the widening sphere of culture through universal education, many of the shackling conventions of to-day will disappear. The younger workers are blazing the way. Of those who herald this change Mario Mariani must be heeded. In "La Casa dell' Uomo" ("The House of Man"), he makes a satiric onslaught against the amorous, avid of money and of pleasure, who are ready to sacrifice every basic virtue in order to obtain them. After presenting a picture of the present-day cages of human beings he tells his story through the mouth and diary of the janitress of a modern apartment-house, who being deprived by time of her pulchritude and sensuous appeal, has been obliged to forego her chosen profession, that of Mrs. Warren, and to gain her livelihood in the sweat of her brow. She has visions of a day when she can no longer even do that, and yet must needs have food, raiment, and shelter; so she keeps a diary which sets forth the flagrancies of the tenants, men, women, and children. She does not admit that the entries are the wythes of blackmail. She salves such conscience as has survived her life of sin by assuring herself that the entries in the book are to assuage literary growing pains. When Signor Mariani obtained the documents by fabrication or by stealth he found himself in possession of the "characters" of many individuals, young and old, who present a strange similarity to those we encounter in daily life. He has seen fit to publish them without saying whether it was art or bread that was the incentive, and they constitute a serious charge against society. The wonder is that if such things exist the social fabric conserves the appearance of well-being. In truth, life is not a mask behind which the wearer laughs, if this diary is to be believed. It is in reality a tragedy made up of a tissue of hypocrisies, banalities, sordid commonplaces, inimical to joy, subversive of pleasure, and destructive of happiness.
It is obvious that de Maupassant is the author's model. Despite a certain vivacity of form, his tales are in substance very old-fashioned and his characters are so sordid and sensual that their actions and their fate from an artistic point of view fail to interest.
In "Smorfia dell' anima" ("Grimaces of the Soul"), the central theme is that all people who defy accepted morals are much more honest and happy than those who hypocritically accept convention but do not conform to the moral laws which underlie them. There is a certain amount of truth in this view, but it will not stand too much insistence.
Though Signor Mariani's books are not entitled to laudation, they, with his commentual writing, encourage us to await the advent of his full powers with a sincere belief that he will arrive in Italian letters.
Gino Rocca is a young Milanese writer who has returned from the war with ideas and capacity to express them. His novel "L'Uragano" is what is popularly called powerful. It is the same old theme, love and adultery, but it introduces what may be called new reactions. It is a story of a young man who, "temperamentally unfit" to live in the refined and shut-in atmosphere of his parental home, goes to Milan and does successfully newspaper work while giving himself copiously to what is called a life of sin. The picture of this life is one with which readers of modern French fiction are familiar. Through the mediation of a sympathetic aunt he encounters a lady burdened with an unworthy husband, who makes such appeal to him that he abandons the gaming-table and the underworld, but in such a way as to leave the impression that it would have been only temporary had not the call to arms put them beyond his reach. In the army and in the hospital, while idealizing his innamorata he has experiences which show him the perfidy of the feminine human heart. When he returns to Milan he realizes that even with his enriched experience he is not yet the man who understands women, for he has yet to learn of the inconstancy of her to whom he attributed all the virtues. This discovery gives the writer an opportunity to depict a profound emotional storm from which the novel gets its name and from which the hero emerges a better man.