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Explosive novel of Italy’s revolutionary 1969 by leading Italian novelistIt was 1969, and temperatures were rising across the factories of the north as workers demanded better pay and conditions. Soon, discontent would erupt in what became known as Italy’s “Hot Autumn.”A young worker from the impoverished south arrives at Fiat’s Mirafiori factory in Turin, where his darkerExplosive novel of Italy’s revolutionary 1969 by leading Italian novelistIt was 1969, and temperatures were rising across the factories of the north as workers demanded better pay and conditions. Soon, discontent would erupt in what became known as Italy’s “Hot Autumn.”A young worker from the impoverished south arrives at Fiat’s Mirafiori factory in Turin, where his darker complexion begins to fade from the fourteen-hour workdays in sweltering industrial heat. He is frequently late for work, and sells his blood when money runs low. He fakes a crushed finger to win sick leave. His bosses try to withhold his wages. Our cynical, dry-witted narrator will not bend to their will. “I want everything, everything that’s owed to me,” he tells them. “Nothing more and nothing less, because you don’t mess with me.”Around him, students are holding secret meetings and union workers begin halting work on the assembly lines, crippling the Mirafiori factory with months of continuous strikes. Before long, barricades line the roads, tear gas wafts into private homes, and the slogan “We Want Everything” is ringing through the streets. Wrought in spare and measured prose, Balestrini’s novel depicts an explosive uprising. Introduced by Rachel Kushner, the author of the best-selling The Flamethrowers, We Want Everything is the incendiary fictional account of events that led to a decade of revolt....

Title : We Want Everything
Author :
Rating :
ISBN : 9781784783686
Format Type : Hardcover
Number of Pages : 240 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

We Want Everything Reviews

  • Mohammed Morsi
    2018-11-09 07:08

    The introduction by Sonya Jeffrey is excellent, the description of Nanni Balestrini's work and the shift in the ideological chart of the world from the 70's and onward. A book about the struggle at the Fiat Mirafiori plant and a descriptive journey of the rise of the poor in societies where the rich have it all. The title we want it all!

  • Gerardo
    2018-11-06 01:51

    Chi voglia entrare in contatto con quello che è stato il '68 italiano dovrebbe prendere in considerazione questo libro. Seppure non sia né un saggio né un testo storico, la sua forma romanzesca è capace di restituire lo spirito di quegli anni. Il testo ha uno stile molto particolare: prima di tutto Balestrini non fa uso di virgole. I pensieri, scritti in prima persona, sono formati da frasi unite in maniera paratattica. In più, il testo non è unitario ma è la risultante di vari paragrafi messi l'uno dietro l'altro e separati da uno spazio bianco. Il tutto per imitare il pensare essenziale, estremamente pratico, del tipico operaio meridionale giunto al Nord per lavorare. Ovviamente, ci ritroviamo di fronte a una costruzione letteraria: se Balestrini avesse ricercato un effetto realistico, avrebbe dovuto usare il dialetto, il linguaggio usato da quella classe sociale. Ma l'uso di un italiano essenziale, paratattico, che fa un uso limitato della subordinazione, restituisce fortemente quel modo di essere, riuscendo a unire necessità comunicative (scrivere in italiano permette a molti di accedere e di capire il testo) ed espressive (lo sperimentalismo di Balestrini permette un certo grado di immedesimazione in quella classe sociale). La storia è semplice: l'evoluzione di un giovane meridionale che inizialmente cerca un lavoro solo per potersi permettere una vita consumistica, per poi maturare e diventare sempre più cosciente dei meccanismi perversi di controllo delle masse lavoratrici. Il processo evolutivo è descritto in maniera magistrale, riuscendo attraverso la storia del singolo a rappresentare il destino di molti. La seconda parte è meno efficace della prima, infatti si inizia con un'analisi psicologica e sociale del protagonista per arrivare, nella seconda parte, a una cronaca delle lotte operaie di quegli anni. Seppure tutto ciò sia interessante dal punto di vista documentario, i passi sulle lotte dopo un po' risultano ripetitive. Notevole, però, è la capacità di Balestrini di descrivere i meccanismi del potere industriale ai danni degli operai. Per certi versi, in alcuni punti, il testo sembra assumere i tratti di un manuale sul potere ad uso e consumo della classi meno raffinate culturalmente. E non è poco. La storia termina con il sopraggiungere dell'alba dopo una giornata di scontri con la polizia. E la visione di un 'grande sole rosso bellissimo' oggettiva la speranza di uno scrittore, squisitamente di parte, nei confronti della sua stessa epoca. E' un testo onesto, perché non mostra l'operaio come un eroe, ma come un essere umano che rivendica il proprio desiderio di felicità. Una felicità fatta di piccole cose (sigarette, ristoranti, blue jeans, una casa dignitosa), che può essere raggiunta solo se i 'padroni' smetteranno di pensare che il vero operaio sia colui che si sacrifica in nome della produttività. Il lavoro è una merda, dice il protagonista, e che quindi venga giustamente ripagato. Basta con la retorica del lavoro come missione di vita, poiché è solo uno strumento per permettere all'individuo di guadagnare il necessario per il proprio sostentamento e per potersi dedicare alla propria vera vita: hobby, piaceri, studi, allargamento delle proprie conoscenze. In questo testo si possono ricavare molte informazioni su di un'epoca che ha preparato la nostra: purtroppo, oggi, si assiste alla deriva di alcuni atteggiamenti tipici sia degli operai che dei potenti di quell'epoca.

  • Alysson Oliveira
    2018-10-23 09:07

    Potere operaio “Sindicalistas, burocratas do Partido Comunista, falsos Marxistas-Leninistas, policiais e fascistas todos têm uma característica em comum. Têm muito medo da luta dos trabalhadores, da habilidade dos trabalhadores dizerem aos seus chefes e aos sevos dos seus chefes para irem para o inferno, e organizarem sua luta autonomamente, dentro e fora da fábrica”, argumenta o narrador de WE WANT EVERYTHING, romance do italiano Nanni Balestrini (Trad. Matt Holden).O livro, originalmente de 1971, e que acaba de sair pela Verso, é um retrato do levante de um jovem operário numa Itália assolada por uma crise e ausência de oportunidades. Narrado em primeira pessoa, por um narrador sem nome, o livro é uma combinação de despertar de consciência de classe, com diário de uma greve e manifesto. A primeira parte acompanha o protagonista em busca de emprego até se dar conta das condições precárias em que trabalha. Ele migra para o norte do país, onde espera trabalhar numa montadora, até que consegue – num processo de seleção bizarro, no qual todos são contratados – emprego na FIAT. O protagonista não tem muita noção do mundo e da dinâmica da exploração. Num dos episódios, ele se acidenta levemente, mas finge ser algo mais grave para conseguir uns dias em casa. Durante sua licença, não sabe o que fazer. Percebe que seu trabalho tomou toda sua vida. Isso se chama alienação. Mas não é preciso dar nomes, conforme diz Rachel Kushner numa introdução escrita para essa edição: “a experiência viva da exploração, [que] é demostrada aqui sem abstrações teóricas: é um relato oral da vida de uma pessoa; e isso é tudo”. O diário da greve – segunda parte do romance – é inspirado nas greves de 1969 que aconteceram nas montadoras italianas, e construído de forma narrativa com cadência e tensão. O relato em primeira pessoa dá lugar, de tempos em tempos, a uma espécie de “camera eye” adotando um tom documental que registra os acontecimentos com precisão e riqueza de detalhes.Ballestrini, que além de romancista, é poeta e participou da fundação do Gruppo 63 (um movimento de literário de vanguarda), e também artista plástico. Sua colagem Potere Operaio, de 1972, que também ilustra a edição da Verso, remete ao grupo político de extrema-esquerda do qual ele fez parte – ao lado de Antonio Negri e Valerio Morucci, entre outros. Seu romance, belo e poderoso, se alinha diretamente à sua ideologia. É um livro repleto de ideias, mas que também pulsa com vida e empolgação. É, ao mesmo tempo, uma história que jamais deixa de ser atual – ao menos enquanto houve exploradores e explorados.

  • xDEAD ENDx
    2018-11-04 04:48

    Wow wow wow. This is so good. "We want everything–all the wealth, all the power, and no work."Taking place before The Unseen, Vogliamo tutto describes the Fiat uprising in 1969. While The Unseen can be read as a novel of repression, Vogliamo tutto is the story of when we were actually on the upswing. It's a story of workers rejecting their jobs, the unions, and the Parties. Balestrini's writing does am amazing job of capturing the energy and intensity of revolt and brings the reader to feel immersed in the fight itself. And it ends (view spoiler)[with a beautiful street fight where the workers, students, and citizens come together to fight against the Carabinieri in an instance that might be called a success. (hide spoiler)]For those not in Australia, this can be ordered from the publisher's website with free overseas shipping, which is probably a better deal than waiting for the American "radical" publisher with the rights to put out their overpriced hardcover edition.

  • Saturday's Child
    2018-11-18 06:58

    This is a novel that I would have not chosen for myself, it was recommended to me. From time to time I will go out of my “comfort reading zone” and try something new which is why I decided to give this one my time. I may have enjoyed it more if I had a better understanding of that period of time and the environment that the workers found themselves in.

  • Erin Mayo
    2018-11-07 01:59

    The story is an interesting concept, but I loathed the writing style. And the main character (narrator) just seems to me like a lazy ass who joins a cause just so he doesn't have to work anymore. Could have been so much better. I would not recommend this book.

  • Lisa
    2018-11-09 03:43

    I picked this up from the New Books shelf at the library, I had no idea what I was getting into – it was a simple case of being attracted by its unusual cover and its Italian title. It turned out to be a kind of novelistic call-to-arms for economic reform, and it’s the first book of just two that have been issued by Melbourne micro publisher, Telephone Publishing.  But it’s a book that made quite a splash: there is an enthusiastic review by Chris Deti at Readings and it was Cameron Woodhead’s Pick of the Week at the SMH.  The reason for this turns out to be that Nanni Balestrini is an author of some considerable literary significance, and although the book is decades old (though only just translated into English) it is right now of political significance too.All those people who think that Booker shortlistee Lincoln in the Bardo is innovative because it consists of a collage of historical sources, well, no, that technique was done before by Balestrini in this novel nearly half a century ago in 1971.  In the foreword, Franco Berardi explains that Balestrini’s genius lies in the way he has dealt with the tensions between content and form within postwar Italian writing. His content depicts not individuals but rather social classes in turmoil, as manifested in this novel in protests on the streets of the city.  What is unique, Berardi says, is that Balestrini combines this content with a form usually kept separate: his language and style keeps time with the rhythm of the industrial city of this period, and he achieves this by creating a collage from interviews with workers, from flyers and bulletins, and from minutes of workers’ meetings.Balestrini is the first poet who has never written a single word of his own, because for him words are material to recombine.  The poet’s gesture consists in gathering words from the boundless verbal territory, in arranging their function, their rhythm and therefore their emotional power. (p.xiv)So much for George Saunders being ‘experimental’, eh?  (And I said so in my review at Goodreads when I abandoned Lincoln in the Bardo, back in August, before ever I read Balestrini.  I had, after all, read Nobel Prize winner Svetlana Alexievich, who also predates Saunders’ use of the technique in her ‘novels’.)In Vogliamo Tutto, Balestrini’s technique comes in for a little bit of criticism at Goodreads, which is worth responding to, IMO.  Amongst the enthusiasts for its political message (bear with me, I’m coming to that) a reader complains of repetition of the content, and it is certainly true that there is a great deal of repetition especially in the second part of the book, yes, to the point of tedium.  But Berardi says that this repetition arises from the author’s deliberate process:…the rhythmic emotion that issues from the flux: surges, retreats, eddies, interruptions, jumps.  Balestrini’s work is all concentrated on the rhythm.  Words are nothing more than blocks of elemental material to collect directly from reality. (p.xiv)So, ok, what’s this book with its significant form about, and why is it so relevant now? To read the rest of my review please visit https://anzlitlovers.com/2017/10/08/v...

  • Emilio
    2018-10-29 07:05

    en 1969 una serie de huelgas espontáneas centradas en las fábricas de Fiat sacudieron a la ciudad de Turín y llevaron a una confrontación con la policía que estuvo a punto de desembocar en una revolución. Balestrini toma el punto de vista de uno de los trabajadores de Fiat que participó en ellas y detalla las condiciones de la vida cotidiana que llevan a la organización espontánea que supera a la capacidad de los sindicatos, empresarios e incluso de los partidos comunistas. Nuestro protagonista es mostrado de una manera que no invita al sentimentalismo y en efecto en muchos momentos parece desagradable, pero esto facilita la identificación no con su causa, no por su personalidad sino por la fuerza de sus argumentos. la narración hace eco de estas circunstancias, con repeticiones, pocas pausas y una sensación de desorientación. Al igual que el obrero de fiat apenas ha ensamblado una pieza cuando la siguente está ya frente a él, los eventos de la novela caen unontrad otro. esto generalmente está bien utilizado, y la lectura es agradable y rápida, excepto por un capítulo en la mitad dónde Balestrini entra en demasiado detalle sobre el inicio de la huelga y las demandas de los trabajadores.Ampliamente recomendada, tanto como una novela como una introducción al operaísmo italiano del que surgieron importantes figuras como Toni Negri.

  • Larry Davidson
    2018-11-05 08:57

    Interesting story which made the Chicago Tribune 2016 best fiction list. It is fiction that reads as non-fiction. The narrator is meant to be a composite of an unskilled worker around 1969 in Southern Italy who migrates to Northern Italy to find employment and make a decent living. The first 40% of the story paints an unflattering image of the narrator as he bounces from job to job mostly trying to figure out how to game the system. He squanders whatever money he earns and doesn't seem concerned about the future. Eventually he ends up at a Fiat plant on an assembly line and the story then turns to a building dissatisfaction with management over working and housing conditions. The workers go on strike, violence ensues, etc. I thought the storyline was unique but the unfolding of it could have been made better by eliminating repetitive content. Did we really need to hear which sections of the plant were having a work stoppage on a given day over and over again? However, the struggle for better working conditions which showed the collusion between the plant executives and the union against the demands of the workers made an compelling point.

  • Ola Hol
    2018-11-03 06:49

    A must-read for activists. or right now for any Pole who is against the government. Some details of how the strike progresses are a bit tedious, but in general - a great book, about workers' solidarity, and the possibility of change. It features the strike in Italian Fiat factories in 1969 -and is written in an interesting way, where an individual perspective is tightly connected to the collective one - the protagonist/narrator is just one of many, but rather than conveying a message of being just a cog in a big wheel and a faceless element of a mass, the author manages to conjure up an image of the power of the collective and demonstrate the benefits of resigning from ego. A great novel/essay about solidarity.

  • Jim
    2018-10-31 05:11

    One of the best political novels I have read.Balestrini's style of writing propels the reader, and the events in the second part of the book provide excitement and hope.

  • Will
    2018-11-09 02:54

    What they said in my words:We want everything: the factory, the capitalists, power over production, the politicians, the entire GDP, limitless workers' rights, social services, autonomous organization, an end to corrupt trade unions, our voices multiplied over endless loudspeakers, control over all the means of production, the highest wages, an end to exploitation, the bosses to burn, an end to overproduction and overtime, the ability to decide when to work and where, basic sustenance, to work less and relax more, to feel fulfilled, to wreck and riot, to thrive as workers as women and men as husbands and wives as children and parents, to scream FUCK YOU, to end police violence, to control together, to control, together, to control as one, to control together, as one, our life. Vogliamo tutto. We want everything.A powerful collective novel that chronicles the beginnings of the Italian autonomist movement in the turbulent 1960s. The workers' rage flows like a raging stream of lava throughout Fiat. Workers, mostly from the impoverished South of Italy, were tired of exploitation in Northern factories, too tired to compromise their own lives, too tired to risk anything. They wanted everything. They fought, they lost, but they drove fear into the hearts of the big bosses.Balestrini loses himself in the anger and frustration of the narrative, but while that rage can detract from the quality of the novel, it reflects the imperfection of the movement, leaderless and passionate. Not for the faint of heart, We Want Everything painfully exposes, to the ultimate extreme, the agony that Italian workers felt. That undercurrent of pain is still there, but instead of too much work, now there isn't enough. In the age of chronic unemployment and austerity, a We Want Everything of the 21st century is inevitable. Recommended.

  • Adam
    2018-11-13 01:56

    Chytlavé! Román, který zachycuje počátek Horkého podzimu (1969) v italském Fiatu. Parádní jsou vidlácká angličtina (italština) vypravěče, rychlý spád a nadčasové claimy:“Then there’s the matter of working hours. Eight hours of work, if not nine or ten, that destroy the worker completely. So not much energy is left for him to communicate with other workers and organise politically.”“We demand a guaranteed wage, we demand to be paid according to our needs, whether we are working or whether we are unemployed.”Potěšil distanc od odborů a Strany, kteří pomáhali zachovat status quo:“But this idea, that the kinds of labour a worker does have different value, that he is paid more or less than another worker, is a completely capitalist invention. The bosses invented it to have another instrument of political control of the working class. Let’s not forget that the Party and the unions support this capitalist invention. They accept that the money a worker gets should be based on the different quality of the work he does.”“Unionists, PCI bureaucrats, fake Marxist-Leninists, cops and fascists all have one characteristic in common. They have a total fear of the workers’ struggle, of the workers’ ability to tell the bosses and the bosses’ servants to go to hell and to organise their struggle autonomously, in the factory and outside the factory.”Hvězdička dolů za trochu unavné a opakující se "deníkové záznamy" konkrétních stávek.

  • Alessandro Gazoia
    2018-11-05 07:01

    Vogliamo tutto di Nanni Balestrini viene pubblicato da Feltrinelli nell'Ottobre del 1971, a più di due anni di distanza dai fatti narrati nella seconda parte del libro (le lotte sindacali alla Fiat di Maggio-Luglio 1969 che "aprirono" l'Autunno caldo) e un anno e mezzo dopo lo Statuto dei Lavoratori (legge 300 del 20 Maggio 1970), conseguenza quasi diretta dell'Autunno caldo e anche della "mediazione sindacale" (ferocemente combattuta dall'autore, nell'azione quotidiana e nel romanzo) di quelle lotte. [continua qui http://bit.ly/HMR4ax ]

  • Leonardo
    2018-11-18 07:02

    Los cuentos de Nanni Balestrini acerca de la lucha de clases en Italia en los ‟60 y ‟70 toman esta determinación positiva de ser–contra. Ver en particular Vogliamo tutto (Milan: Feltrinelli, 1971). Imperio Pág.159

  • Matthew Martens
    2018-11-05 08:03

    But we don't know how to get it.

  • ΠανωςΚ
    2018-10-19 05:46

    Πολύτιμο πολιτικά, ιστορικά, ιδεολογικά. Λογοτεχνικά βαρετό. Ισως αν το διάβαζα νωρίτερα, σε μια πιο κατάλληλη ηλικία, ας πούμε στα 18-20 μου, να το έβρισκα συναρπαστικό.

  • Ivano Porpora
    2018-10-24 01:58

    Libro meraviglioso, potente. Non lo conoscevo, e credo faccia parte di quella letteratura dimenticata.È un peccato.

  • Beñat Irasuegi
    2018-10-22 02:46

    Edozein #EHID kidek irakurri beharko luken liburua.

  • Shelley Ettinger
    2018-10-30 08:47

    Exhilarating. Magnificent. Boy I needed a book like this right around now. In your face, pig Trump and your whole pig class. We'll come roaring back soon.