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writer belongs to the generation that grew up in the 80's with Japanese cartoons. For this reason, today's post says the article by Antonio Scurati, appeared in La Stampa of June 5, Over the centuries loyal to Lady Oscar.

is not, it should be spelled out in a mass celebration of childhood nostalgia television lost. Seeks rather to analyze, within the limits of a short newspaper article, the impact of Japanese cartoons in "an Italy dominated by the films of Jerry Calà, disengagement craxi; [...] the era of declining night [...] and the dawn of Americans stubbornly stupid show, the god of entertainment and consumption of stories. "

was right in the middle of this landscape, dominated by paninari fashion, advertising and Okilprezzoègiusto Mulino Bianco, who "broke the sheer force of the mythical story of Japanese cartoons: Tiger Man, Captain Harlock, Lady Oscar , Fist of the North. " The severity of these stories, often atrocious, there were people who died in combat, "[...] there were great betrayal, strong passions. The cartoons were Japanese the only supplies for children capable of dealing with fundamental moral issues.

Those heroes [...] offered psychological conflicts are serious, uplifting drama, erotic passions overwhelming, all the merchandise on children born in the 80 to try to prevent a child. Lady Oscar was not Barbie. Those cartoons were dying, those suffering from cardboard, felt carnal desires and passions, ideals. As children, those cartoons were capable of feeling, and we bled, fought, were cut.

The Japanese manga became so, in the 80's, the last hotel of the soul child returned to childhood and his boundless sadness. The most sacred and untouchable feeling experienced by children. "

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Vanna Vannuccini interviewed for Republic on June 1, Uwe Tellkamp, \u200b\u200bauthor of the novel tower. The work is part of what is now a rich seam essay-narrative that has its roots in the analysis of phenomena surrounding the existence (and fall) of the Berlin Wall.

For fans of the theme is easy to recall the film Goodbye Lenin , as well as an interesting collection of essays Nostalgia , edited by Bruno Mondadori.

The recent twenty years since the fall of the Wall has certainly favored the release of new contributions on the subject, and The tower, in fact, gives us new life and total immersion in the GDR, its contradictions, its paradoxes.

"Life - says Tellkamp - was full of contradictions. On one hand, the time had slowed down, and this slowdown caused a strange time shift. We read Thomas Mann, Bassani, Tomasi di Lampedusa, and we seemed to speak to us of our time. We too felt abandoned to ourselves, we felt that something was ending, as we celebrated the leopard dissolved worlds and values, and were therefore condemned to the melancholy. "

is not, of course, nostalgia for a state petty, dictatorial, obtuse, penetrated by a monstrous network of spies. It is, rather, after twenty years, and before the "magnificent and progressive" a development model that has felt able to walk on the rubble of the wall victorious, it is, I mean, to look for alternative and intriguing view other models of society, to distinguish between the country and the state, a country that had "its sides quiet, modest, reassuring."

This is the difference between that, especially today Tellkamp identifies authors from East and West: in the first "remains a desire for utopia, social worship survey, the belief in the role social art, and the desire to be "serious", respect for tradition, the need to compete with the big names of the past. "