Invictus. Cristiano Parafioriti

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СКАЧАТЬ Model 1891 rifle that had one advantage for its age: it was not muzzle loading. The equipment for the department was the Breda machine gun, which fired when well cleaned and oiled. We couldn’t, however, fire too many volleys, lest the barrel turned red, or the gun jammed, or fired on its own. The accompanying weapons – Brixia mortars, Breda machine guns, 81 mortars, and 47/32 cannons – were, for the most part, outdated and, in any case, not enough. Our only anti-tank weapon – the 47/32 cannon – could only pierce Italian tanks. Against Russian tanks, there was nothing to do.

      Artillery in the divisional area consisted of museum equipment: the 75/13, the 100/17, utterly harmless and safe hand grenades, which did not always explode.

      Means of a connection made for mountain warfare, unsuitable for long distances; the old faded flags, the heliographs, were of no use on that undulating terrain. The few radios, heavy and battered, were sometimes less fast than the order carriers.

      No mines, no flares, no reticulates, no tracer bullets. And little ammunition, almost depleted.

      The equipment was the same as on the Western Front from the battle of June 1940. Uniforms made of the worst wool, shoes of stiff, dry leather that looked like paper. The foot cloths seemed to have been made on purpose to block the blood circulation, favouring heating or freezing.

      We were not tanks. We were mountain troops, poorly armed, poorly equipped for mountain warfare. Throwing ourselves into the plains, where armoured warfare was running fast, meant going in blind.3

      Historiographical research confirmed it was a disaster. A disaster made worse by the grave shortcomings of the Italian army's war equipment and the laxity with which the military commanders and Mussolini approached the enterprise.

      The Duce was sure that the war would be over soon, mainly due to the training and firepower of the German ally. Therefore, he had refrained from mobilising the country for the campaign – as had happened during the conquest of Ethiopia. The affair resulted in the worst collapse suffered by the Italian army.

      To be fair, you must not overlook the fact that the image of the victimized condition of the Italian soldier, in the transmission of the memory and subsequent representation of the event, would have been overshadowed, concerning the criminal policy of the regime, the cruelty of the Red Army and the harsh weather conditions.

      Not to mention the often-cited lack of support from the German ally: the offensive and not defensive nature of the war, the Italian army seen as a full-fledged invader against a country that tried to defend itself strenuously against the occupation policy pursued by the Axis powers.⁴

      Beyond the reasons and responsibilities for the conflict – to keep in mind to avoid supporting a distorted and “mythical” vision – memories of that traumatic war campaign had a powerful effect on the survivors’ minds, leaving us some of the most intense pages about the Italian war, full of strong impressions, pathos, horror, and titanism.

      As Maria Teresa Giusti has also pointed out, it is no coincidence that the accounts relating to the military experience in Russia, within the framework of the memories of the Second World War, have been far more than all those dedicated to the other fronts.

      The Russian campaign is the background of Invictus, a historical novel. The novel is the processing of the experience lived by a young Sicilian peasant, originally from a village in the Nebrodi municipality of Galati Mamertino, in the province of Messina, who went to war on the eastern front. We face a memory handed down from generation to generation, at first known only by the family, then entrusted – after a long period of detachment from those events and sedimentation – to the pen of a talented writer and fellow countryman, Cristiano Parafioriti. He managed to give vigour and substance to the narration of that extreme experience, to the point of making it an abiding testimony of the struggle of men to preserve their humanity in the face of the destructive horde and horrors of war.

      In a grand choral fresco, the novel tells the story of a Sicilian farmhand, Salvatore, known as Ture, the eldest son of the Di Nardo family. Although his father, who had already experienced the tragedy of the Karst during the First World War, tried to save his son from this ominous prospect with various pressures and expedients, Ture could not avoid military service and be called up for war.

      The fate reserved the worst of destinations for him: the Russian steppe.

      Accustomed to sacrifices, to harsh winter in the mountains, shaped by the hard life in the fields, he managed to survive the rigours of a campaign, living in prohibitive conditions. And to return to his beloved land, not without further risks and adventures, knitting back the threads of affection that the war had threatened to interrupt forever.

      Taken from the treasure chest of memory, in the frame of a historical novel that edits and enriches but does not alter the truth – if anything, in some cases, it transcends it – the story of the main character Ture Di Nardo becomes exemplary of the condition of many farmers. They often are the only support for their families but are torn away from their work and affections. They are thrown into a sort of no man’s land, the battlefield, dominated by anonymous and mass death, at the mercy of a war that brutalises and, in some ways, depersonalises them.

      The narrative represents well the perspective from below, of those peasants from the most remote areas of the country suddenly catapulted into a hellish conflict, ruled by resignation and frustration and by a substantial indifference towards the reasons for the war, experienced at like a natural disaster. The protagonist’s attitude in the novel reflects the conditions of that rural world accustomed to patient sacrifice, which struggles to identify with the State and whose dimension still lived the local, municipal one. Far from the ideas of power and greatness promoted by the regime, averse to fascist myths, far from the exasperated patriotic spirit nurtured at that time, Ture found himself immersed in the tragic reality of the Italian war on the eastern front. The only comfort offered by solidarity with his comrades in arms and the faint hope of one day being able to return home to fulfil his love dream with his beloved Rosa.

      The novel gives us an extraordinary cross section of the physical and mental universe, of the values, fears, needs, and aspirations of peasant families in a mountain area – the Nebrodi area: the hard work in the fields, made of toil, sweat, and abuses perpetrated by a class of landowners, of noble origin, who still in the first half of the 20th century firmly held possession of most of the land, profiting handsomely by renting it out, often with random criteria.

      Parafioriti’s realist prose is fluid and easy to read, in the best Sicilian literary tradition. He thickens the narrative plot as he follows the development of the love affair between Ture and his cousin Rosa, with the twist of events and circumstances reminiscent of Manzoni that hinder its full completion.

      He deals efficiently with the various characters, captured in their intimate essence, creating an impressive social fresco based on solid historical knowledge and appropriate use of language.

      After the short stories of Era il mio paese (2014), Sicilitudine (2016), and the transition to the historical novel with D’Amore e di briganti (2019), set in the post-unification period of the nineteenth century, this new literary effort marks the author's arrival at a test of definite maturity, with an organic novel able to hold the reader's attention by the force of the story and its universal value. All Parafioriti’s writings have a common denominator, an unmistakable common thread: they express a deep connection with his homeland in Sicily, Galati Mamertino and its hamlet of San Basilio, on the Nebrodi mountains, which becomes an integral part of the characters the author narrates. From this context, the novel events unfold to fit into the broader framework of the history of the twentieth century.

      In conclusion, it seems accurate to reflect on the genesis and scope of this work to recall the following СКАЧАТЬ