The Dramatic Writing of Orian Fallaci Between Journalism and Literature

This paper focuses on the famous “Fallaci interviews”, which are an example of what has been defined as “journalit” (Krim 1970), i.e., a non-fictional practice that is based real events but still uses resources fiction and permeated by inventions creative licenses (Castellana 2021; Mongelli 2015). Fallaci skilled playwright who knows how to “write journalistic piece means story journalism” (Aricò 2010) increase dramatic character her writings. But she also loves show herself self-made woman always ready go “on stage” (Scheer 1981: 92): writer sort “fictional witness”, testimonial plays privileged role through writing presence, approaching genre autofiction (Doubrovsky 1977; Grell 2014; Marchese 2014, 2019) and, in some ways, testimonio novelizado (Beverley 1992, 1993; Jara Vidal 1986). For these reasons, can be put ideal guideline goes from Malaparte Pasolini (and, today, maybe Roberto Saviano) (Altamura 2019). Like “corsaro”, convinced creative, critical, “instinctive” capable undermining power, its nature ambiguous obscurantist. But, our view, neither expressiveness Malaparte, nor civil tension poetic consistency Pasolini. Her dimension seems refer rather category “midcult” (Macdonald 2018), i.e. cultural typology late or postmodern re-use ideas, resources, languages high culture, not endowed with intrinsic originality innovativeness able express universal values. Net all this, Fallaci’s remains admirable it possible (even at cost contradictions) combine ethical values ​​of journalistic-literary testimony codes mass spectacularity, guaranteeing productivity which, however, does limit quality standard work.