It is a question that I have often asked myself, for a long time. I felt that it existed but I could only grasp indirect evidence of a censorship that operates in virtue of filters, by delimiting the areas and conditions to which big publishers adhere, by selecting texts for getting published (only authors who guarantee a certain number of sales, who are presented by, who have been selected by, who write according to certain models and styles, who avoid references to ... who do not reflect an ideological editorial line different from the one they support).
I was looking for the speck and I did not notice the beam I had in my eye.
Already with "Rugíle" (my previous novel) I had detected a situation of discomfort that the text procured for the explicitly treated sexual themes. Certainly there was no censorship by any state authority but there was a wall that was often raised by those who were unwilling to admit sex in its crudity, in its ability to punch hard in your stomach, because it is sometimes impossible to admit to yourself the truth that the sexual instinct slams in your face.
With my last novel "Amore, c and red tomatoes" the censorship has become undeniable. From Lithuanian side it was "silenced" me the permission to present my book in Lithuania for having touched the facts of the Vilnius tower in 1991, according to what had been exposed by a Russian journalist, banned from Lithuania some years ago, even though I didn't personally share and support her theory.
On a personal level, I can only be grateful to Lithuania for giving me the opportunity to re-start a life here in this land, but it is undeniable that there is an alternative theory to the official one regarding the events that took place at the Vilnius tower, by which the Republic of Lithuania was founded. It is certainly not closing the eyes or plugging the mouths that undermines the credibility of the opposition.
On the side of some Italian representatives in Lithuania there also has been censorship for the strong criticism I made of Italy in this book. Or better said, to a certain Italy. That of the Third Republic, the republic which was born under Monti and continued by the PD. From that criticism I exclude the current government, since for what it has done and it is now doing goes against the dominant tendency of the Third Republic.
However, I know of my own experience, how difficult and complex it is to go against official narratives, or even simply touching themes that are not fully appreciated.
What to say? A writer can not in any case change his/her ideology at every turn, he must however continue and confirm what is the purpose of his literary vocation.
Pier Paolo Pasolini, one of the most censored and put on trial writer of the history of Italian literature, docet. Never he has betrayed his desperate search for happiness and love ideology, under any circumstances.
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