The Unseen. Nanni Balestrini

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The Unseen - Nanni Balestrini

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      Praise for The Unseen

      ‘What [Balestrini] narrates is not a fairy tale, but a terrifying experience. Not just his own, but also that of a lost generation who thought possible another world beside the world, who dreamt of workers’ power, of autonomy, who revolted against everything, school, family, clergy, political parties, “historical compromise”, State, police, boredom . . . The Unseen is, perhaps, the first true novel of the European Left.’ Libération

      ‘Balestrini offers a very lucid document, which is both the memory and the assessment of a disoriented generation. The Left now has its novel.’ L’Événement du jeudi

      ‘The Unseen isn’t documentary writing, but it tells us far more than any documentary about a troubled phase in our history; how it was experienced, and most of all how it was lived in the imagination.’ Corriere della Sera

      ‘We should be grateful to Nanni Balestrini for having engaged his writing with this cruel sentimental education of a young man living in the seventies.’ Rossana Rossanda, il manifesto

      ‘The political passion of the rebel Balestrini is equalled by his literary vocation . . . the finale is not unworthy of Bontempelli or Calvino.’ Il Giornale

      ‘A work of high literary quality. Among many novels and elegantly crafted pieces of fiction . . . The Unseen has the courage to face an incandescent matter of reality, rich in implications that involve not only the literati but also a wider public.’ L’Unità

      ‘Not just a beautiful novel . . . it is the story of part of a generation in our country, who dreamed a different future and believed in it, believed in the possibility of making it real.’ Linus

      NANNI BALESTRINI was born in Milan in 1935 and was a member of the influential avant-garde Gruppo 63, along with Umberto Eco and Eduardo Sanguineti. He is the author of numerous volumes of poetry, including Blackout and Ipocalisse, and novels such as Tristano, Vogliamo Tutto, and La Violenza Illustrata.

      During the notorious mass arrests of writers and activists associated with Autonomy, which began in 1979, Balestrini was charged with membership of an armed organization and with subversive association. He went underground to avoid arrest and fled to France. As in so many other cases, no evidence was provided and he was acquitted of all the charges.

      He currently lives in Rome, where he runs the monthly magazine of cultural intervention Alfabeta2 with Umberto Eco and others.

      The Unseen

      Nanni Balestrini

      TRANSLATED BY LIZ HERON

      WITH A FOREWORD BY ANTONIO NEGRI

      First published in English by Verso 1989

      This updated paperback edition published by Verso 2011

      This updated edition © Nanni Balestrini and Derive Approdi, Rome 2005

      Translation © Liz Heron 1989, 2011

      Foreword © Antonio Negri 2011

      First published as Gli Invisibili

      © Bompiani, Milan 1987

      All rights reserved

      The moral rights of the authors have been asserted

      1 3 5 7 9 10 8 6 4 2

      Verso

      UK: 6 Meard Street, London W1F 0EG

      US: 20 Jay Street, Suite 1010, Brooklyn, NY 11201

       www.versobooks.com

      Verso is the imprint of New Left Books

      Epub ISBN-13: 978-1-84467-837-2

      British Library Cataloguing in Publication Data

      A catalogue record for this book is available from the British Library

      Library of Congress Cataloging-in-Publication Data

      A catalog record for this book is available from the Library of Congress

      Typeset in Janson MT by Hewer UK Ltd, Edinburgh

      Printed in the US by Maple Vail

      for Sergio

      Contents

       Begin reading.

      Foreword

      Nanni Balestrini’s book, now republished here, tells of unseen actors in the class struggle between the 1970s and ’80s, particularly in northern Italy, and inside the jails of the Realm. These subjects are invisible because they are elusive, mutating beings in the act of metamorphosis. But what can we say about them today (and also about this novel) if not that rather than being an old, outdated story this is now very much of the present moment, one caught sight of at that time and followed in the course of its unfolding? The republication of The Unseen therefore has the advantage today of telling us about proletarian subjects whose class nature has finally been revealed: the unseen individual of yesterday is the proletarian of today, the immaterial worker, the cognitive precariat, the new figure of the worker as social labour power in the movements of the multitude. Those poor wretches did it, they managed to get through a revolution in the composition of labour and a ferocious political repression and to struggle on from the factories to society and (still productive) from society to the jail (still fighting back). And now where will they go? The elite of the working-class movement who betrayed and dragged the unseen into prison now look around, fearful and unable to build a politics, afraid of losing out if they do not resume contact with that age-old movement of transformation; but that elite will never win! Indeed, regardless of this betrayal by the working-class movement (which has been so serious, especially in Italy), the unseen have gone forward. In the ’80s, they were organizing prison revolts and the first autonomous social centres in the cities; in the ’90s they organized the Panther movement; in the late ’90s they turned into Zapatistas and tute bianche, the anti-globalization movement and everything else that has happened and will happen.

      It is interesting to note that each one of these movements always sought to give itself ambiguous, hard-to-pin-down names that could have been white but also dark in the shadow that the white produced, that could have been soft like the tread of a feline, that could moreover position itself as tireless resistance precisely in the name of the singular ambiguity of its disobedient behaviour. Since the ’70s, these movements have all understood that starting all over again doesn’t mean turning back but rather expanding, reaching into new spaces and new times, being coordinated and coordinating, seeking confrontation in the measure of consensus and consensus in the measure of confrontation. The fact is that, in contrast to the parties and the survivors from the ancien régime, the unseen place themselves in the here and now. Balestrini’s unseen, right from the early ’80s, were beginning to give shape to a multitudinous, singular, transversal subject that wanted never to be reduced to a mass but wanted in every case to be a whole. And even when ideological reminiscences drew them inside names and terminologies that

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