By Giorgio De Maria
Written in 1977, The Twenty Days of Turin has been a cult favorite in Italy that only got an English translation in 2017. I was intrigued when I read reviews saying that this short novel (only 144 pages) depicts a proto social media far more accurately than any early cyberpunk authors. It’s not a spoiler to explain the setup: before the start of the novel, several young adults established “The Library,” where citizens of Turin could submit and read anonymous personal diaries. It was intended to help lonely and isolated individuals find connection with their neighbors, but quickly devolved into mean-spirited diatribes and grotesque confessions. Stunningly familiar, right?
After several mysterious, violent murders, The Library is closed down and most of the contents are burned. The novel is narrated by a local author several years later, attempting to investigate the unsolved murders and their connection to the library for a new book he is writing. He interviews several key people, and uncovers deeper levels of conspiracy in this cross between a noir mystery and a horror/fantasy novel. The conclusion ties in surprisingly with another current social debate, but elaborating any more would be a full spoil.
The pacing is odd, with long philosophical discussions between the narrator and his interviewees mixed with growing suspense and sudden outbreaks of violence in a very disconnected, dreamlike way. The narration did not always focus on what I expected to be the most interesting parts: there is less about the actual library than I’d have liked, and more description and backstory of each person interviewed than I felt was necessary. I wasn’t sure if the disconnect for me came from it being Italian, almost 50 years old, or in a genre I’m not overly familiar with.
I recommend it because it is short, interesting, and different, though not as mind-blowing or entrancing as I’d hoped on the first description. My library edition also came with two shorts, a supernatural short story featuring Lord Byron and some A+ satirical writing, and a somewhat dry essay on the new pop-rock music of the 70s and its cultural significance. Both were also very odd but entertaining in their different ways.
As an aside, the descriptive blurb on the novel says it was written during the height of domestic terrorism in Italy, and it made me wonder if in forty years the 20s would be considered the “height of domestic terrorism” in the U.S. For more context, I recommend this Goodreads review by Luca Signorelli, acknowledged in the translator’s notes as a key figure in bringing about the translation.