Veronica Raimo, a finalist at Strega 2022 and a successful writer known for her bestselling ‘Niente di vero’, is recognized for her intensely laconic style. She is faithful to the Carverian precept of eschewing easy tricks and prioritizes quality through the analysis of feelings and subtraction, avoiding sentimentality. She has a unique ability to engender depth through comedic elements. In a recent conversation with AGI, she discussed her collection of short stories, ‘Life is short, etc.’, published by Einaudi.
Raimo, after the success of ‘Niente di vero’, what motivated you to publish stories that have largely been published before, a decision which seems contrary to typical market mechanisms?
Raimo says her decision was driven by the opportunity and the desire to deviate from the path of autofiction. She also wanted to take her time to craft new stories. She acknowledges that short stories are not typically desired in the market, but as a reader and a writer, she has always revered them. Raimo believes these stories offer a different way for writers to express themselves. She included stories in ‘Life is short, etc.’ that represent important stages of her own journey.
Are the female characters in your stories, known for their ironic introspection, influenced by the American literary tradition?
Over the span of 15 years, the stories in ‘Life is short, etc.’ have been influenced by Raimo’s evolving literary interests. She herself notices a difference in perspective from the first to the last story. She admires authors like Roth and Salinger and was influenced by American literature from the 90s and early 2000s, especially that published by Minimum Fax. Raimo also sees parallels with other decades. She recently edited the preface for a re-edition of ‘Schiavi di New York’ by Tama Janowitz which portrays characters from the 80s, an era she believes is not as obsessed with success as today.
When writing, how important is it to maintain a connection with literary tradition?
Raimo believes it is vital to connect with contemporary writing. She always seeks to find elements of interest in new texts, even those she may not typically favor. She wishes to have a broader understanding of global contemporary literature, such as that from Russian writers.
Why is it challenging to incorporate an ironic streak in autofiction, as suggested by Ellis in ‘Lunar Park’?
Raimo states that David Sedaris’s comic depiction of family stories was a greater influence on ‘Niente di vero’ than Ellis. She admires Bret Easton Ellis’s complex narrative structures in ‘Lunar Park’. Regarding irony, she believes it is a personal choice and notes the recent trend of memoirs focusing on trauma, which is a different genre than autofiction.
Should the author disappear in favor of the work, a topic of debate that now seems outdated?
Raimo believes that an author should indeed disappear in favor of their work. She distinguishes between authors who commit to public appearances and those who overexpose themselves for self-promotion. However, she believes there should not be a universal standard for this.
As a reader, do you believe there are undervalued voices in Italy?
Raimo asserts that the issue is not about the size of the publishing houses but rather the lack of resources for scouting new talent. She believes that the solution lies in producing fewer but better quality publications, giving them time to gain recognition.
Which novel by which author are you eagerly waiting for?
Raimo states that she is looking forward to a novel by Claudia Durastanti, who she considers as one of the best contemporary writers due to her willingness to take risks and innovate.
Are you currently writing?
Raimo reveals she has completed a long fantasy story which will not be published for a year. She does not have a new novel ready yet.
