But the most representative poets are G. Giudici, who after La vita in versi (1965) and Il male dei creditori (1971) continued his “ autobiology ”, between the dismay of existence and the yearning for the eve, as has been said, in Light of your mysteries (1984), Salutz (1985) a wise Provencal-like contamination, and Prove del teatro (1989); and A. Zanzotto, who created the most dramatic texts on the historical and existential condition of man in a language that goes back to the roots of life and expression (La beltà, 1968; Pasque, 1973; Il Galateo in bosco, 1978 ; Phosphenes, 1983;Idiom, 1986; The looks, the facts and senhal, 1990). A particular place has the dialectal poetry, which has recovered its literary weight with personalities such as the Ligurian E. Firpo, the Venetian B. Marin, the Lombard F. Loi, the Romagna T. Guerra, the Roman M. Dell’Arco, the Lucanian A. Pierro, the Sicilian Italy Buttitta.
Even the novel of the seventies includes authors and titles of great importance. Beginning with CE Gadda, whose works of distant years were also taken up, Novella Secondo (1971) and the sketch of a philosophical system Meditazione Milanese (1974, a year after the writer’s death); in 1981 Le bizze del capitano in fareo and other short stories were released, in 1983 the Italian tale of unknown of the twentieth century, in 1992 I Luigi di Francia ; in 1988 the Letters to Gianfranco Contini 1934-1967 were published, by the same recipient. In 1971 with him and meA. Moravia further accentuated a theme on sex which would later find a wide use in numerous other novels (La vita interiore, 1978; 1934, 1982; The man who watches, 1985; The journey to Rome, 1988) and short stories (Il Paradiso, 1970; Boh, 1976; The Friday villa, 1990, etc.), and broadened his interests with extensive essays from the USSR, China, Africa. Nor was the production of E. Morante in those years of less importance, who in 1974 published a novel, La Storia, which had a wide echo and constituted a notable novelty in the author’s commitment not only literary, whose last novel, Aracoeli, was published in 1982. The production of T. Landolfi was even more intense in the 1970s (Le labrene, 1974; A chance, 1975; Del Meno, 1978); by N. Ginzburg (You must never ask me, 1970; Imaginary life, 1974; Family, 1977), very present also with theatrical texts; by C. Bernari (A hole in the windshield, 1971; So the revolution will not explode, 1976; The day of the assassinations, 1980); by P. Levi with works linked now to the world of technology (The periodic system, 1975; The star key, 1978) now again to the trauma of war and imprisonment (Se non ora ora?, 1982; I sommersi ei salvati, 1986). In the meantime the arduous and provocative mannerism of G. Manganelli continued with generous abundance (Agli dei più, 1972; A and B, 1975; Centuria, 1979; Angosce di stile, 1981; Laborious trifles, 1986; Improvisi for typewriter, 1989; Commendation of the tyrant, 1990; The definitive swamp, 1991;The crib, 1992; Experiment with India, 1992), while L. Malerba’s fiction landed either with interests on our time (The blue planet, 1987; Flying stones, 1992) or with historical novels (Il fuoco greco, 1990).
According to top-engineering-schools.org, a review of the authors in full service activity in that decade cannot leave out the names of the oldest M. Soldati, A. Banti, L. Bigiaretti, AM Ortese, C. Levi, L. Romano, G. Petroni, D. Buzzati, G. Manzini, V. Pratolini, L. Compagnone, M. Tobino and the highly original A. Pizzuto or the slightly less elderly C. Cassola, G. Bassani, G. Berto, M. Prisco, R. La Capria, A Bevilacqua, G. Parise, G. Arpino, D. Troisi, F. Camon, S. Strati, F. Sanvitale, F. Tomizza, G. Gramigna, O. Ottieri and the Catholics M. Pomilio, R. Doni, G. Montesanto, F. Ulivi, nor a narrator, and poet, in his own right like G. Bonaviri with his rich fantastic invention that feeds on classical and medieval cultures. Nor were some literary cases lacking in the seventies, such as the emergence after their disappearance of authors who remained unknown, G. Morselli (Rome without pope, 1974; Next counter pass, 1975; Dissipatio HG, 1977, etc.) or S. Satta (Judgment Day, 1977) or as the publication, accompanied by a certain clamor, of the vast novel by S. D’Arrigo Horcynus Orca (1975) written in a largely Italian enriched by the Sicilian.
But to mark the characters and the high levels of the fiction of the seventies, which lasted until the eighties and nineties, were even more the works of Italy Calvino and L. Sciascia. Calvino, having overcome the residues of a season that was born with neorealism, has given life to a series of works whose common foundation could be traced to the ability to translate narratological schemes and models into living stories and, at the same time, technically flawless (Le città invisibili, 1972; The castle of crossed destinies, 1973; If a traveler a winter night, 1979; Palomar, 1983; Cosmicomiche old and new, 1984; Under the jaguar sun, 1986; The road to San Giovanni, 1990), no less original are his books of various non-fiction and literary (Una pietra sopra, 1980; Collezione di sabbia, 1984; Lezioni americane, 1988; The books of others and Why read the classics, 1991). After the novels of the Sixties set in a Sicily polluted by the mafia (Il Giorno della Civetta, 1961; To each his own, 1966) L. Sciascia continued to alternate a narrative production between detective story and political intervention (The context, 1971 ; Todo modo, 1974; Candido, 1977, etc.) with a non-fiction strongly committed to current events (L’affaire Moro, 1978; Nero su nero, 1979) and also interested in literary problems (La corda pazza, 1970) and always increasing its presence in the field of literature and culture with a fertile alacrity (Il teatro della memoria, 1981; Cronachette, 1985; Una storia simple, 1989; For future reference, 1990).