"Let the party begin " by Niccolo Ammaniti is a good novel, we start from this assumption.
is the classic book that is easily read, what's the matter with its relentless story and those characters so unreal and grotesque, but in which we meet again and we become attached. And so far, nothing new, nothing extraordinary. What makes the latest novel by the Roman writer one of his best work is perhaps the background, the framework, in which the story unfolds. Ammaniti in fact brutally throws a handful of characters in a world that is always hovering between reality and its wild and quirky imagination.
The first part "Genesi " introduces us to two characters: the writer said-but-in-crisis Fabrizio Ciba and the head of The Beast of Abaddon satanic sect, said Xavier Mantos. These two characters seem to be the opposite of each other. The first finds in history not to be so "cool" as he believes and inevitably come to terms with reality. The second one finds the strength within him, in years of pent-up frustration and unhappy marriage work. But what our toghether two heroes is the total rout in tackling the adventure, the total absence of a line to rely on, the constant false certainty of knowing what to do when you do not know where to go instead of hitting her head. It can be seen here in my opinion one of the few weaknesses of the book: in fact secondary characters often appear in the action as "Deus ex machina, solving or changing profoundly the situation, making it sound like a collage of all the" scenes "or short stories linked. Ammaniti is as if he had a series of ideas, more or less brilliant, and had bonded.
Among the great ideas we can certainly cite the two excursus "historic" inserted between a other chapter. The first overview introduces the second chapter, "The Feast " and tells the story of Villa Ada (where the festival will be held the title of the novel in which everything will happen and more) from its Roman origins to the present day . If I have termed these interludes of the author as "historical" in quotes is because the excursion begins with a fidelity to the reality of what happened and then suddenly (and without a sign of distinction) turn according to the fantasy that imagines the park in Amman, he obviously loved, bought by a businessman in Naples, Sasa Chiatti, and after the interventions Pharaonic organize the event right here Italian world of the century.
So the second excursus into the third chapter: the first introduces the history of the '60 Olympics in Rome and then inserts a political fiction about the history of Russian athletes. He's the reader know when Ammaniti tells the true and when it leads us into the theater of his grotesque characters.
The presence of these is the rhythm of the book itself, or in a continuous escalation of madness and delirium. And among albino Venus, Russian athletes obese, Bulgarian chefs with paranormal powers, Satanists in love, tangled plastic surgeons, TV personalities, entertainment and sport Italian (all easily recognizable caricatures or in any way related to those who can now be the stereotypes of our star system ...) there's something for everyone. Larita deserves a separate note, the singer the subject of love and hatred of Ciba Mantos: she is the connection between the two, both chasing the non-stop, but she, apparently so fragile and helpless, it 's only one to actually have ideas always clear, always act according to moral well-defined and have only ever pure feelings. Everything else around and she is rotten.
And this can only rot to release the third and final part, " Katakumba " where no uncertain terms, no other possible definitions ... all goes to hell.
Everything collapses, hopes, plans, real or random loves, ambitions, dreams, plots, everything disappears crushed by the smallness of human body which thus appears to unnecessarily large. It would perhaps be an exaggeration to speak of "hubris, the arrogance so insulted by the ancient Greeks, but really seems to be the only evil that moves all over the reins of the macabre game ordered from Amman.
Among the possible self-references ("as God" is repeated at least twice, "I'll take you away" a) Amman back to the irony that was perhaps a bit macabre 'abandoned' As God commands "along known roads and perhaps more suited to his pen, giving us moments of pure fun and entertainment, but always leaving the starting point for reflection on the tragic-comic situation in which his characters (as well as his readers) are thrown against their will.
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