I Mediterranean noir novels of the genus are basically two levels of interpretation: a first level is the classic, the one with which we deal with any other novel of escape, the second level digs deeper into the core of the story, in 'investigation into the complaint and wants to tell that story. The complaint, which of course is accompanied by a clear and cold in his examination of contemporary society's historical-political and economic criminals, features already inherent in the noir genre itself, making it a perfect key to understanding the reality. Denounce. Sensitize the reader. Take him to think. The creator of this kind is undoubtedly French writer Jean-Claude Izzo, author of the famous trilogy of the former Marseille flic Fabio Montale. Probably the poetic and the insights of Jean-Claude Izzo were strongly inspired by another French noirista of a previous generation, which has investigated and gutted without mercy reality in its more than two hundred novels: André Helena. Massimo Carlotto has undoubtedly brought forward the lessons of Izzo, enriching the genre and adapting to changing socio-criminals uncomfortable that Italy continues to tell by now almost twenty novels. The Mediterranean noir becomes an instrument of struggle and resistance against the industry of falsehood, and must therefore be entirely consistent with his poetry. But there is hope, and lies in the very philosophy of Mediterranean noir, in fact the end of the Mediterranean noir is the sharing of truth and a motion critical of the injustices and inconsistencies of our society. So write will be synonymous with struggle. And reading to resist.
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