BOOKS TRANSLATED




Welcome to my blog. 

In this section you will find 

my traslated books. 

Greetings

EM


MY WRITING FOCUSES THE SLAG OF SOCIETY

I try to remain faithful to two principles inspired by Emil Cioran and Raymond Carver, which I quote in the subsequent lines.

Enrico


What is a book?

A book should open old wounds, even inflict new ones. A book should be a danger. What should books be used for? To learn? No, of course, just go to school if you want to learn. No; I believe that a book should really be a wound, that it should somehow change the reader's life. 

Emil Cioran 

 

Side effects.   

If we're lucky, writer and reader alike, we'll finish the last couple of lines of a story and then just sit for a minute in silence. Ideally, we will reflect on what we've just written or read; maybe our hearts or intellects will have been moved off a little ahead from where they were before. Our body temperature will rise or fall by a degree. Then, breathing evenly and steadily once more, we will recompose ourselves, writers and readers alike, we will get up, "created of warm blood and nerves" as a Chekhov character puts it and go on to the next thing: Life. Always life.

Raymond Carver




Stars of dust

Are we the architects of our destiny or do the plots of our lives escape us lefting us impotent in the face of fate? Sometimes it happens that, despite a fierce commitment, the results are not those hoped for. In the attempt of having no regrets you can sacrifice your whole life to realize that time is not a good friend for anyone. Riccardo Nola, the main character of Stars of Dust, after a cruel childhood, discovers as a teenager that acting can have therapeutic effects. The undergrowth of the show business, however, turns out to be a dark forest, where you cannot easily orientat yourself. Rick has a natural talent for choosing bad partners and workmates. This gift accompanies him along the path of his artistic career. Actor graduated from the Academy of Dramatic Arts in Rome, his worry is to only work on commercials, due to the bad offices of a manager who brings a nefarious name: Al Sapone. Yet, his friends love him, envy him, confuse his precarious life for adventure. After making little artistic experiences, Riccardo is forced to get by by working in the local market, but you cannot control your heart: being bored, he is charmed by a vague project of his friend and colleague Thomas Albergari of Polonghera, from noble origins and wealthy family. The plan consists in bringing on stage (actually, on the road, on public transport or in the squares), monologues taken from a book about the Expedition of the Thousand of Garibaldi, which led them from the capital to Sicily. While the General managed to unify the country, however, the paths of Thomas and Richard will take different directions.

Dear customer

Why is a nickname more indicative compared to our name? In consumer society, where all echoes are adulterated - Karl Marx is the man of chocolate with the caramel layer and Che Guevara has killed Spider-Man - identity becomes a main topic. Keeping it and being involved as little as possible by the obsession with buying, is a primary matter. 

Leopoldo Canapone, protagonist of Dear Customer, every day witnesses the procession of customers infatuated by the commercials and promotional offers. He also knoews a lot about nicknames and, above all, he had an identity. Aspiring actor, he was sure in the end he would enter the Cinecittà Studios. He wrong a few hundred meters. Years later, he stamped the card in the supermarket near to the film establishments.

“ The customer is a fucked customer and not a fucking customer " - Leopoldo Canapone. 


On my generation

What is the main activity in our existence? To grow up? Be someone in our society? Find a road of your own? 

Whatever this task is, Emilio Santini - the main character of this story - and his friends, do not want to learn to move forward. They hang on, the only street they know is the one of the front door, where they have been living since the '70s, when they were kids, in a suburb of Rome. On the background of a season marked by social tensions, they observe the flow of life with indifference, convinced that getting busy does not help in this system because nothing can change. They have sterile motivations, they have childish justifications, life is good for them as it is, they have settled in the front row of daily greyness to attend the cycle of seasons.

In the messy chronicle of reported events that lead to the transition from the first to the second republic in Italy, Emilio and his old friends are preparing to live the new course supporting the rise of a rampant politician. Soccer and rock music are their only reasons for living, but they believe they can find in the congressperson Andrea Franzoni, a dear old friend of theirs, a shortcut to the difficulties of human life.

Emilio - a Beatles enthusiast - earns little money as a guitar teacher, the Reserved works when he feels like it, distributing advertising fliers, the Blasphemy works in the deli of a relative, always after 10 a.m. and never past 1 p.m., the Cobra makes a living as a driver in poorly licit works, and Rigatone is a rock music photographer.

There is an unfinished business, however, that everyone has with the politician and this will awaken them from the long sleep, giving an assist for the revenge and stem the maturated cynic.

History of a generation afflicted by Pete Best Syndrome.

"No one could be John, Paul, George or Ringo, but we all are Pete Best and in one way or another we had to live with what was left".

Emilio Santini


Cages

Are we really free or are we prisoners of ourselves? Reading the reflections of Omar Mumba, the protagonist of this story, we live recluse in our mental restrictions and we stay this way for much of our existence, learning to move in the narrow spaces of those same bars.

In every type of system, there proliferate contradictions that become traditions to be respected. The society in which we live has applied the norm that says we can be happy, even if the others are not: all you have to do is not to be among those others.

It is a simple equation, basically, yet Omar does not seem to learn. It keeps a singular pastime, if we can call it so: keeping inside a big envelope, all the letters coming from those structures and associations present in forgotten places, where every need is absolute. He reads them continuously, even when he is in the hotel where he works and for this reason, he is mocked by colleagues and superiors. The attitude towards the neighbour in difficulty makes him intransigent, but above all leaves him alone. His days pass between listening to U2 music and household chores, work and a recurrent accusation: who gets his boss’ flat tyre?




Estrellas de polvo

Incursión en la maleza del arte y el entretenimiento. Ricardo Nola tiene un talento natural para equivocarse a la hora de elegir socios y compañeros de trabajo.



BLOG SECTIONS

Letters from the Johnny’s pub - Imaginary stories of rock music

Books, social and communication 

Music and events - Notes and insights

Short Stories My short stories

Utopias Between dreams and reality

Debate - Controversy and a bit of malice

Remark - My thoughts collected. 

Super Cashiers - New humorous format on supermarket cashiers





© ENRICO MATTIOLI 2018




Stars of dust




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Are we the architects of our destiny or do the plots of our lives escape us lefting us impotent in the face of fate? Sometimes it happens that, despite a fierce commitment, the results are not those hoped for. In the attempt of having no regrets you can sacrifice your whole life to realize that time is not a good friend for anyone. Riccardo Nola, the main character of Stars of Dust, after a cruel childhood, discovers as a teenager that acting can have therapeutic effects. The undergrowth of the show business, however, turns out to be a dark forest, where you cannot easily orientat yourself. Rick has a natural talent for choosing bad partners and workmates. This gift accompanies him along the path of his artistic career. Actor graduated from the Academy of Dramatic Arts in Rome, his worry is to only work on commercials, due to the bad offices of a manager who brings a nefarious name: Al Sapone. Yet, his friends love him, envy him, confuse his precarious life for adventure. After making little artistic experiences, Riccardo is forced to get by by working in the local market, but you cannot control your heart: being bored, he is charmed by a vague project of his friend and colleague Thomas Albergari of Polonghera, from noble origins and wealthy family. The plan consists in bringing on stage (actually, on the road, on public transport or in the squares), monologues taken from a book about the Expedition of the Thousand of Garibaldi, which led them from the capital to Sicily. While the General managed to unify the country, however, the paths of Thomas and Richard will take different directions.


NOTES

Documentation work meets many resistances. Few people willingly accept that an outsider insinuates himself into their operating environment to try and reproduce it. Many will find in that attempt aspects treated marginally, they will question their authenticity. Stars of dust, is a story on the show business environment. The compulsory claim of the maximum result with the least effort is a widespread seed. Instead, it would be advisable to repeat that you do not always achieve certain results: it is a wrong equation. Sometimes, unfortunately, even in the case of prolonged efforts, things do not happen due to disparate or unknown reasons.

 

Read chapter two

Read chapter three


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© ENRICO MATTIOLI 2018



Dear customer


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Why is a nickname more indicative compared to our name? Personal details are the result of the choice of others. Sooner or later, when we enter the world of work, those letters will become numbers. On the other hand, a nickname is linked to a really happened event or to a personal trait. In a manner of speaking, it reveals our true identity.

In consumer society, where all echoes are adulterated - Karl Marx is the man of chocolate with the caramel layer and Che Guevara has killed Spider-Man - identity becomes a main topic. Keeping it and being involved as little as possible by the obsession with buying, is a primary matter.

Leopoldo Canapone, protagonist of Dear Customer, every day witnesses the procession of customers infatuated by the commercials and promotional offers. He also knoews a lot about nicknames and, above all, he had an identity. Aspiring actor, he was sure in the end he would enter the Cinecittà Studios. He wrong a few hundred meters. Years later, he stamped the card in the supermarket near to the film establishments, but after all, also it was art because, as a sales clerk, he had to wear a mask and smile to the audience.


“ The customer is a fucked customer and not a fucking customer " - Leopoldo Canapone. 




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  © ENRICO MATTIOLI 2018




Dear customer - chapter four


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The Saturday Bus Stop. If I missed this intersection with Belinda, the day was going to go wrong. That day, I saw her getting on the bus next to mine. Everything seemed to be against me.

On Saturday, volunteers from Caritas arrived to collect cans for refugees or the third world populations. They had those Franciscan ways, and we used them. Even if you had to go through a mineral water bed and they were in the middle, you will not disturb them. The boys had their own tables at the entrance to retrieve the envelopes of the customers who intended to participate. The clientele was intrigued, dazed by the news from television on dioxin chickens and mad cows. At some moments, real psychoses were created. People were suspicious.

 

- Look at this chicken: doesn’t it look too bloated?

- Madam, it's not a chicken. It's a guinea fowl.

- Really? I had no idea you imported meat from Egypt!

 

This reflection, ended a week of stress, crap, and rain.

Monday. The week started with another promotion. The opening environment was neat and clean, the shelves in order and the offers looked like fragments of inlays: stacks of items tied together with the base of four parcels horizontally, under another four vertical parcels, and so on. La frutteria was a little vegetable garden flourishing and the pork store, a rural wine cellar. The scent of hot baking bread spilled across the corridors.

 

At the end of the day, the rush hour noise didn't fade: it moved inside your head. From the outside, I heard the horns of cars at the traffic lights, while there looked like a country demolished by an earthquake. The posers of the offers were exchanged, and the stacks were in disorder. The counter outside seemed attacked and bombarded. A bottle of rustic past lay disintegrated on the floor, another oil in there. Papers and leaflets on the ground, packs of meat were abandoned on the shelves for detergents. At the exit, there were full envelopes that someone had not had time to hide. The crates resonated with the typical computer rhythm of our end-of-day accounts. It was paradoxical that craft: one had to create a magnificent exposition that attracted the attention of the public, knowing that success would be determined by its disfigurement. The opposite of the theatre.

Sometimes my grandfather came back to my mind. He told me about the years of the war, of his country, he likened misery to a circular cheque, equal everywhere.

There was this conflict somewhere in the world. The television broadcasted it. The Western World also participated. The supermarket was filled with people who were suggestive, old people who were hoarding all sorts of items: sugar, pasta, flour. Patients were standing in line, and nobody complained. The music was turned off, for my relief. The coffee rack was empty. There were grains stored in open containers. An old man approached slowly. He stopped, looked around, and with a brush dropped a mixture of dust and coffee in the empty bag.

It was elder Mr. Alfredo Toffolo. He seemed out of Sciuscià or some Bicycle Thieves, but he didn't have the bike, and his shoes were peeling with mended laces. He lent a helping hand through her white hair, which was kept good by a stream of water. Coming down to the supermarket with the spirit of a boy, and trying to trick the same middle-aged lady, accompanying her and holding her bags, seeing that she got home safely. They kept each other company.



 

Alfredo gave me his poems: "You always have to read," he said.

 

Green meadows where red poppies grow.

That's where I’d like to sleep, exhausted.

No plates and no marble.

 

- Keep my poems and every time you see a red poppy, call it Alfredo.

 

She winked at his cheeks and came out of the chocolate department. He seemed to have prepared the plan for the robbery of the century, but he only sought an emotion. Those sweets were for grandchildren. He pretended to be there by chance, when I was throwing off the waste from the fruit Orchard Department. Alfredo held a bag stacked in the raincoat pocket.


Read chapter two





 © ENRICO MATTIOLI 2018




Dear customer - chapter two


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Contact with the audience was intriguing and perverse. The customers were tormented with the idea of gifts such that, the more they spend, the more they accumulated points. Paradoxically, they were only supposed to know how good those gifts were, in reality. They demanded the full share of their spending to know if they had reached the score; otherwise, they would have taken some other article to round up. It was fundamental to create a dependency, sealed by the loyalty of the club card.

The concept of fidelity had its pleasurable aspects. A young married woman, with two children, was shopping on the first morning. She went in and greeted everyone. Then stood in front of the mirror of the underwear department and looked at it, after which she settled down, loosened the fourth button of the blouse showing a generous décolleté. She was silent though, if you greeted her when she came in with her husband.

We would have rewarded all of them very much. The director, on the other hand, was convinced that the young man stole tricks and perfumes. She made love with her husband and perhaps, weighed the already fattened meat on the scallops of the fruit garden under the endive voice. I saw her and called her Lady Endive. She realized that I would not betray her and smiled horribly, showing me a few inches of her boobs. In a sense, it was also a game. It was a stage. We created loaves for customers and this occasionally, changed. Sometimes it is anvils or hammers. One day, who knows, my lady would have hammered me in place of Mr. Dal Canto.




I escorted the customers to the escalator.  From the window I saw a guy walking around with the dog, Dr. Carloni re-enters the studio, the secretaries of the insurance office get out of the bar gesticulating and having fun.

The business was booming for the city's transport company, because public transport was full. Everything went smoothly.

At break time I wandered without a definite goal. My colleagues went home for lunch, as I entered the bar and stared at Pirelli's calendars, saying that one year was really twelve months old.

Donna Boccione, our most loyal customer, complained, like every day after lunch with the bartender because the espresso served was hot. Knowing Boccione, I agreed with the poor man, glancing at him with understanding.

Words were as useless as my actions. I had the impression of spending time when everyone was running. Suddenly, something abducted me... but yes it was her, she was the one: the girl with the dimples on her cheeks!

She walked fast to the bus stop. I could not follow her zigzag motion between the cars at the traffic light, and when I decided to poke her, she headed for the green. I could have considered it a sign of destiny, but I decided not to abuse it because the girl was going to work and that was her habitual journey. I walked away and thought of her. Belinda, she resembled Belinda Carlisle, the California singer. I would have expected her the next day. I did not listen to Carlisle's music, but I followed the Carlisle that was in her.

I went back to work. I waited for Belinda and visited Gatta. She waved at me without moving the lips, saying only L-L-O instead of a sunny and open hello.

Gatta repeatedly did not consider herself a colleague with a disadvantage like me. Once she came up against me with Baron, his CISL trade union official, because I had made fun of her.

Read chapter four



  © ENRICO MATTIOLI 2018




ON MY GENERATION



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What is the main activity in our existence? To grow up? Be someone in our society? Find a road of your own? 

Whatever this task is, Emilio Santini - the main character of this story - and his friends, do not want to learn to move forward. They hang on, the only street they know is the one of the front door, where they have been living since the '70s, when they were kids, in a suburb of Rome. On the background of a season marked by social tensions, they observe the flow of life with indifference, convinced that getting busy does not help in this system because nothing can change. They have sterile motivations, they have childish justifications, life is good for them as it is, they have settled in the front row of daily greyness to attend the cycle of seasons.

In the messy chronicle of reported events that lead to the transition from the first to the second republic in Italy, Emilio and his old friends are preparing to live the new course supporting the rise of a rampant politician. Soccer and rock music are their only reasons for living, but they believe they can find in the congressperson Andrea Franzoni, a dear old friend of theirs, a shortcut to the difficulties of human life.

Emilio - a Beatles enthusiast - earns little money as a guitar teacher, the Reserved works when he feels like it, distributing advertising fliers, the Blasphemy works in the deli of a relative, always after 10 a.m. and never past 1 p.m., the Cobra makes a living as a driver in poorly licit works, and Rigatone is a rock music photographer.

There is an unfinished business, however, that everyone has with the politician and this will awaken them from the long sleep, giving an assist for the revenge and stem the maturated cynic.

History of a generation afflicted by Pete Best Syndrome.

"No one could be John, Paul, George or Ringo, but we all are Pete Best and in one way or another we had to live with what was left".

Emilio Santini




NOTE

The generations following the 1970s - so also mine - have no characterization. I mean that in the '60s they talked about flowers’ power of flowers and universal love, the 70s were marked by controversy and terrorism, but also by social gains.

There was good socialization, a sense of belonging that expressed itself in extremism and aversion to the opposite, but that made people join under a flag or a color. 

And then? In the 80s and in the following decades, an ephemeral spiral blew on the fire of individualism and self-realization.

Being heroes for only one day and having fifteen minutes of notoriety for each, they have outlined - and they still do - the collective imagination.

In the third chapter of Stories of anonymous apathy-holic, I tried to synthesize all this with the speech to his friends from the future politician Adrea Franzoni:

Ideologies have come to an end. The earlier you will convince yourselves the better it will be for everyone. What did ideologies produce in history? Nothing, indeed, only disasters. I don’t say it: it's history. Of course, some can say that only an ideology can make you feel alive, solid, in full communion with the human race. Do you know how I answer? With another question: do you prefer a sweet lie or a rough truth? And the truth, my friends, is that if you do not help yourselves first, you will never be able to help anybody else


In the book, some of the guys including Emilio Santini, The Blasphemy and The Quiet, don’t find it hard to share the concept since they lack political and social passion. Inside them, this theory finds fertile soil. Cobra and Archimede, on the other hand, are initially suspicious just because they still have an ideological conscience, even if they side opposing deployments. In the end, they too will surrender and will be flocked by the politician’s manners. 

The opportunism of Congressman Franzoni (The Infamous) is their primary education of the adult world where the boys will find an easy and convenient landing in the island of apathy and indifference.

What happens next is fiction. The kids will have the chance of a payback even if the lost time will not come back. 

Pete Best's disease is the fear of failure. In the life of each one of us there is no room for wrong moves.

Pete Best was The Beatles’ first drummer. When I talk about Liverpool kids, I talk about them as one of the major mass media phenomena that have ever existed and not because I want to impose them on someone. 

I think Pete Best's story teaches you more than any other anecdote. Drummer in charge until the first record (Love me do, '62), he is replaced because they thought he couldn’t deal with it. One minute before world renown, the boy has suffered a historic theft from the fate that will prevent him from glory and immortality. 

What else could go worse? - It's the question.

I could be Pete Best - is the answer.

It's really a heroic act to stay alive.


One aspect I wanted to highlight is the strong impact that the rock music message has had on this century. I often repeat to myself that many people's lives would be different without rock and roll music or maybe just without this or that group. It has been the soundtrack of these last sixty years and it is the main (perhaps the only) aspect that links today's generations with those of the 60s or 70s. 

 


 © ENRICO MATTIOLI 2018



CAGES


41AOw1geyTL. SX331 BO1,204,203,200



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Are we really free or are we prisoners of ourselves? Reading the reflections of Omar Mumba, the protagonist of this story, we live recluse in our mental restrictions and we stay this way for much of our existence, learning to move in the narrow spaces of those same bars.

In every type of system, there proliferate contradictions that become traditions to be respected. The society in which we live has applied the norm that says we can be happy, even if the others are not: all you have to do is not to be among those others.

It is a simple equation, basically, yet Omar does not seem to learn. It keeps a singular pastime, if we can call it so: keeping inside a big envelope, all the letters coming from those structures and associations present in forgotten places, where every need is absolute. He reads them continuously, even when he is in the hotel where he works and for this reason, he is mocked by colleagues and superiors. The attitude towards the neighbour in difficulty makes him intransigent, but above all leaves him alone. His days pass between listening to U2 music and household chores, work and a recurrent accusation: who gets his boss’ flat tyre.



NOTES

It’s a delicate tale, a rear-wheel drive, which means that it’s counterbalanced by a heavy project on its back. 

The main character is a mean, I needed a character in which I could pour hidden resentments, fears and also neighbor’s curiosities. 

Omar doesn’t tell a story of integration because he’s already an Italian citizen. Born in Rome from an Italian mother and a Kenyan father, his is an incident of deep introversion.

Omar learnt from his parents, both doctors, not to conceive a job just as a living source, so he divides the salary as a hotel operator in small donations to the onlus associations that operate in poor countries. In his mailbox there arrive letters of structures that there are in those lands, where every need is absolute and he can’t do anything but attend depressed to the contradictions of the society in which he was born, he grew up and lives. 

The constant activity for those in difficulties makes him inflexible on others’ superficiality and his ability to look far gets him to lose contact with things close to him, isolating him much more. 

The cages are brain-made and concern limits of each one of us. They influence us as dead weights, they don’t let us fully live our lives. 

What is best about Omar, his solidarity to the others, is also his flaw, the absence of lightness.

Mumba also deals with the concept of faith. It’s a concept he can’t grasp, suspended between his own materialistic confusion and a vague benevolence that guides him. It’s the predicament on the sense of existence, that contrast on the promise of a better life in another realm and the immediate answers needed on Earth.  



 

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 © ENRICO MATTIOLI 2018




ESTRELLAS DE POLVO



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“Estrellas de Polvo”

Escrito por Enrico Mattioli

Distribuido por Babelcube, Inc.

Traducido por Yaiza Cañizares

Diseño de portada © 2016 Enrico Mattioli



Ricardo Nola tiene un talento natural para equivocarse a la hora de elegir socios y compañeros de trabajo. Actor diplomado por la Escuela de Arte Dramático, su drama real es tener que ganarse la vida haciendo anuncios publicitarios gracias al pésimo trabajo que realiza su representante: Al Sapone. Aun así, sus amigos lo adoran, le envidian y se toman sus desgracias como si fuesen las aventuras de un explorador. El único motivo por el que Ricardo va a las fiestas de sus amigos es porque dan de comer, y cada vez que va, todos los asistentes tienen ansias de saber en qué lío se ha metido esta vez: un chat erótico junto con su amiga escritora Eva Pop. Aventura que, al igual que las otras, dura más bien poco. Por esta razón, Ricardo se ve obligado a alejarse de los escenarios para trabajar en el mercado, con el único propósito de poder sobrevivir al final de cada mes. Cansado de esta vida, se deja enredar, una vez más, por un proyecto misterioso que lleva a cabo su mejor amigo, Thomas Albergari de Polonghera, proveniente de familia noble y culta. El proyecto consiste en llevar a la escena (en realidad, se trata de teatro de calle) monólogos extraídos de un libro que trata sobre la Unificación de Italia, y recorrer las hazañas de Garibaldi. Sin embargo, mientras que el General consiguió unificar el país, los caminos de Thomas y Ricardo se separarán. Con tal de no tener que arrepentirse, está justificado sacrificar toda una vida. Pero por desgracia, el tiempo no es amigo de nadie.


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Leer el capítulo tres



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 © ENRICO MATTIOLI 2017





© Enrico Mattioli 2018