{"id":11640,"date":"2023-05-16T08:02:02","date_gmt":"2023-05-16T08:02:02","guid":{"rendered":"https:\/\/www.layoutmagazine.it\/?p=11640"},"modified":"2023-11-28T11:02:23","modified_gmt":"2023-11-28T11:02:23","slug":"breaking-the-siege-working-class-literature","status":"publish","type":"post","link":"https:\/\/www.layoutmagazine.it\/en\/breaking-the-siege-working-class-literature\/","title":{"rendered":"Breaking the Siege: When Class Struggle Meets Literature"},"content":{"rendered":"\n

An attempt at chronological mapping for a moment of cultural turmoil<\/strong><\/h4>\n\n\n\n

The Working Class Literature<\/strong> Festival (Festival di letteratura working class<\/a><\/em>) <\/strong>at the Gkn plant in Campi Bisenzio was held between March 31st<\/sup> and April 2nd<\/sup>. A few thousand people took part in it, and I will try to elaborate a chronological narrative of the event.<\/p>\n\n\n\n

___In October 2021 I attended the Working Class Writers Festival in Bristol. It was probably the very first, biggest working-class literature festival ever, although it was and still is mostly concerned with the anglophone scene (a small group of Swedish writers and myself were the only invited authors from continental Europe). According to what I\u2019ve been told, Finland is the only place where they actually have working-class literature festivals, but they are small events limited to Finnish authors.<\/p>\n\n\n\n

___A few months earlier, on July 9th<\/sup> 2021, I am in Piazza Santa Croce in Florence, where I join a protest march in support of Gkn workers, who were fired with a WhatsApp message. On the stairs in front of the church I hear the workers\u2019 representative, Dario Salvetti, telling journalists: \u201cWe\u2019re ok with telling our story, but we are not here to do just that, we are here to write history. We\u2019re here to make history<\/em>.\u201d These words impress me, and I feel they resonate with what I\u2019ve been trying to do in terms of narrative for at least a decade \u2013 taking back the words we need to tell our stories, telling one\u2019s story so that it won\u2019t be told by others.<\/p>\n\n\n\n

___From the factory collective the Progetto convergenza culturale[1]<\/strong><\/a> <\/strong>is born \u2013 and they start thinking about having cultural events in the factory\u2019s parking lot. Because yes, workers have cultural interests too \u2013 people write, draw, play music. Culture isn\u2019t just for those who own cultural capital and a good amount of spare time.<\/p>\n\n\n\n

___So, after a year of material and imaginative fighting, workers suggest we publish a book for the Working Class series. It will be written by them, the tile will be Insorgiamo<\/a><\/em> (Let\u2019s rise<\/em>), and the first copies will be sold during the upcoming demonstration on March 26th,2022. A collaboration starts between the Working Class<\/strong> series and Convergenza culturale.<\/p>\n\n\n\n

___This collaboration becomes a concrete project and sets an aim: organizing the first Italian festival of Working-Class Literature. We will do it in the Gkn plant. We speak about the project with some publishers, but they are clearly not interested in spending their dough in this craziness. We decide to fund ourselves from the bottom, because, unlike Bristol, we have no sponsors in the publishing business. In Bristol they had Hachette, Random House, and other British houses \u2013 they gave them 60 thousand pounds. We have unemployment benefits. Fuck benefits, we will use crowdfunding.<\/p>\n\n\n\n

\"spezzare-assedio-lotta-di-classe-incontra-letteratura\"<\/figure>\n\n\n\n

___Tens of emails, phone calls, messages to all of Europe. A lot of positive responses, a few negative ones. We end up with a truly intersectional program, intertwining class policies and identity policies, individual rights, and collective ones (gender, ethnicity, but also disability and sexual orientation). The result is a plurality of working classes, as opposed to one monolithic entity.<\/p>\n\n\n\n

\u00ad\u00ad\u00ad___February. The program is done, we can launch our crowdfunding campaign, which surpasses our expectations \u2013 we collect almost 12 thousand euros.<\/p>\n\n\n\n

___March. We start thinking about ways to get people in touch with the festival \u2013 we reach out to community centers, mutual aid associations, Arci clubs in the metropolitan area of Florence to activate that net of connections historically created by the workers\u2019 movements. We hold presentations, performed readings, fundraising lunches.<\/p>\n\n\n\n

___We speak on Zoom once every three days \u2013 publishers, support group, Convergenza culturale, Arci, Collettivo di fabbrica. It\u2019s a big mess, because the dispute schedule is overlapping with the festival\u2019s. Yet, there\u2019s no other way: in two months the workers will be in \u2013 after that, who knows.<\/p>\n\n\n\n

___We cannot focus on the festival alone. The workers\u2019 energies are also focused on the upcoming demonstration, which is much needed for an initial push. The workers have been under siege for months. The new owners, who have to reindustrialize, are not doing their job. Politicians are silent. No progress is made at the ministry.<\/p>\n\n\n\n

____We also try to understand whether some big names, actors or musicians, can take up the stage and do a reading from Joseph Ponthus\u2019s book. Some are supportive, they apologize for not being able to join the festival due to shooting necessities, but they still ask if they can read our books. Others just won\u2019t answer. Eventually, this will all come to something.  <\/p>\n\n\n\n

___March 25th<\/sup>, the day of the demonstration. There are 12, perhaps 15 thousand of us in Florence. Yet, there is an overall feeling of tiredness. I come out of the march feeling less enthusiastic than other times. During all other demonstrations, we felt like we had overthrown a phase of the fight. I think to myself \u2013 this time\u2019s different. Maybe, however, it\u2019s just because I\u2019m tired.<\/p>\n\n\n\n

___March 27th<\/sup>, Monday. We enter the decisive week. We are getting closer. Online meetings. Microphones, interpreters, canteen workers, mixers, amplifiers, the stage, t-shirts, tote bags\u2026little by little it feels like everything\u2019s in its own place. The workers are proud of the stage they assembled and of how well-kept the factory is \u2013 they cleaned the restrooms, mowed the grass in the outdoor areas \u2013 the place is as good as home. It is <\/em>their home. We prepare the banners and posters. We printed ten thousand of them. I have handed out at least a thousand myself during the demonstration, explaining what the whole festival is about \u2013 I speak so much I\u2019m voiceless by the end of the march.<\/p>\n\n\n\n

March 28th<\/sup>, Tuesday. I have a zoom meeting with a Dutch university. A professor asked me to speak about working-class literature to her students. One of them says she\u2019ll come to the festival from the Netherlands. A German journalist who works for the public broadcast service says she\u2019ll also be there to do a reportage.<\/p>\n\n\n\n

March 29th<\/sup>, Wednesday. Interviews all day.<\/p>\n\n\n\n

March 30th<\/sup>, Thursday. In the morning we are at Palazzo Vecchio for a press release. \u201cil manifesto\u201d and \u201cRepubblica\u201d are already writing about us. Other online media platforms are doing the same. We get messages from a lot of people who say they\u2019ll be there. In the afternoon Giulio Calella (Alegre) and I are on Rai Radio 3 to speak about the festival on Fahrenheit. Claudia Durastanti joins us on the phone. Afterward, we go to the factory. We start building the bookshelves with the volunteer university students from Rome. We do things meticulously, joyously and slowly. It takes hours. The stage, at least, has already been assembled by the workers. But there\u2019s still plenty to do.<\/p>\n\n\n\n

\"breaking-the-siege-when-class-struggle-meets-literature\"
Children interview people at the Working Class Literature Festival<\/figcaption><\/figure>\n\n\n\n

March 31st<\/sup>, Friday. I have breakfast and go out for the papers. We are on \u201cRepubblica\u201d and on the \u201cCorriere fiorentino\u201d \u2013 there are threats to sue those who will take part in the festival on two of the most important newspapers. We\u2019re surely catching the public eye. I park and enter the factory. First stop \u2013 Barcollo[2]<\/strong><\/a><\/em>, the workers\u2019 small bar, where I find people in the midst of their morning coffee-and-cigarette ritual. We exchange a few words about the legal threats \u2013 we are astonished. This is what happens when you try to bring together literature and working class \u2013 they threaten to report you. We have a meeting, and end up choosing to set up the festival in an unused space, so that we won\u2019t be any trouble.<\/p>\n\n\n\n

We have a long day ahead, but the workers are completely relaxed, much more than the activists. Everything must be ready in two hours. Two hours? How can that be? I say, thinking we will need at least eight. Maybe we can make it in an hour and a half, they answer. In the meantime, a forklift is moving a table full of books which some students have set up the day before. In three minutes, they dismantle and reassemble all the stuff it took us three hours to build. They fix up the stage in five minutes. This is what we\u2019re talking about when we talk about the working class.<\/p>\n\n\n\n

At lunchtime, I\u2019m tired already. I woke up at 6 after a sleepless night to be on air with Rai Radio Uno at 6:40. I don\u2019t know what\u2019s going on, there are technical issues and I can\u2019t hear anything, just a metallic sound. I\u2019m improvising, talking in the dark, trying to make out questions from the voice coming intermittently from the studio. Later, I get messages from people, enthusiastic about what I said. Whatever.<\/p>\n\n\n\n

Lunch at the canteen, conviviality, sharing the bread, here is the original meaning of compagni<\/em>,[3]<\/a> cum panis<\/em>, with bread. In the afternoon, everything\u2019s in its own place. We manage to come up with something that looks almost trendy and cool, with boxes made of recycled paper, but we do it because we have to, not out of a sense of fashion. <\/strong>I see a guy weight-lifting with a drive shaft and I think of the terrible waste of capital it is to make money on the stock exchange market crushing productive companies. We keep adjusting the lights, our sound technician, Massimo, is a worker who\u2019s had to find a job at another company, but he keeps supporting his comrades\u2019 fight and can really do miracles \u2013 we\u2019re good as far as sound is concerned. People come in from Radio Wombat to prepare podcasts of the various talks<\/a>, and we also manage to get radios for simultaneous translations. There\u2019s an hour before the festival opens and I take thirty minutes to sleep. I only manage to lie down but can\u2019t really fall asleep at all. I\u2019m too anxious.\u00a0<\/p>\n\n\n\n

At 5:55 I go back in \u2013 there are only fifty people. If this is our crowd, we\u2019re done. I go in, go out, decide to wait a little longer for the opening talk. At 6:15 people start lining up to enter the festival. And so it begins. At 6:50 I speak in front of an astonishing number of people \u2013 I\u2019ve never spoken in front of such a big audience. At 7:30 the canteen is overcrowded. There\u2019s a two-stories long queue, workers go back and forth from the shopping mall to buy more food, we make a few sandwiches and hand them around at the refreshment points. After dinner Mayakovski\u2019s ghost joins us through a monologue performed by Wu Ming 1 \u2013 it comes with music and it works perfectly. Then, there\u2019s the play which has been adapted from Amianto<\/em>. During the performance, the light goes out twice (I\u2019ll be told afterward that it\u2019s because we had too powerful spotlights), and each time the actor makes up a trick to solve the issue.<\/p>\n\n\n\n

Towards the end, a spring storm forces us to stay inside, altogether. Then we go out, ready to see each other the following day\u2026<\/p>\n\n\n\n

\n
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\"spezzare-assedio-lotta-di-classe-incontra-letteratura\"<\/figure>\n<\/div>\n\n\n\n
\n
\"spezzare-assedio-lotta-di-classe-incontra-letteratura\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n

What did we do?<\/p>\n\n\n\n

What followed can\u2019t simply be a report. It was hands shaking, hugs, children playing in the factory\u2019s field, applauses, tears, emotion, and a sense of connection no one was expecting to feel. We go on like that, progressively, day by day. We reach the peak on Saturday, with a huge amount of people joining, the canteen manages to spread the work on three shifts, the festival seems to work fine without us, it\u2019s a self-activating machine, we are simply there, watching, taking care of it with our look, for a second. Then, we keep it working \u2013 phone calls, interviews, reservations. The volunteers sort the guests between hotels and stations, I shake hands with people coming from abroad, from Germany, the Netherlands, the United States. Everyone\u2019s asking: what\u2019s going on? And we all ask back: what\u2019s going on? There\u2019s only one answer: we are trying to break the siege, all together.<\/p>\n\n\n\n

We look around, there\u2019s a huge crowd. There aren\u2019t enough chairs. There are people standing in the back, on the sides, sitting down under the stage. At one point that line is presided by the workers\u2019 kids, who instead of sitting in the prole area (the space we devoted to children) decided to see what\u2019s going on in the adults\u2019 area. Then I<\/em>\u2019ll go to the prole area, where people are talking about Sherlock Holmes and Karl Marx. About why we must go to school and to work. Difficult questions, which we all ask ourselves even after we\u2019ve grown up. I go around a bit: the restrooms are clean; the volunteers are doing miracles. There are fifteen hundred people and no hitches. Happy cooperation, we are ecstatic \u2013 we think then that factories could really work through self-management, under the workers\u2019 control. What was that Godard movie? Tout va bien<\/em>.[4]<\/a><\/p>\n\n\n\n

Things are so great that we get a message by Ken Loach <\/strong>through an English activist. Mira reads it in English and in Italian. We\u2019re beyond getting surprised, at this point.<\/p>\n\n\n\n

On the last day, the sun is shining. The performances are moving. The workers\u2019 stories are now on stage. I\u2019berva is a war machine. Matteo from Convergenza Culturale never wants to appear on stage but without him, we could never have done this. Sometimes he asks Mario to replace him, and this time he shows up holding his little son \u2013 who\u2019s so beautiful everybody\u2019s just looking at him. From the canteen, we get trays of food which immediately disappear. I meet poets-workers, university researchers, porters, journalists. Families with strollers. I listen to Alessandro Portelli saying that in life he would have liked to write but had no stories to tell. The workers and the oppressed gave him a voice, not the other way around. I bump into Francesca outside, she has tears in her eyes. What did we do? We still can\u2019t believe it.<\/p>\n\n\n\n

At the end we close with an extract from the play by the Gkn workers. I\u2019berva says they will take it to Brussels, we\u2019re international. Dario tells of the day they got the text messages firing them. Of how the workers spontaneously met outside the factory and sent away the thugs of a security company who had tried to occupy their home. There\u2019ll be no screws leaving the factory. Yet, many lives have entered it.[5]<\/a> Another worker tells a funny, pantagruelic anecdote about a colleague, but the story is a sad one. I hear a couple, husband and wife, crying behind me. Tears, anger, emotion, pride, all come and go in waves. Tiziana tells her story, a moving one, about sexism inside the factory, and of how she was demoted from her status of corporate employee to that of worker: together with I\u2019berva\u2019s and Dario\u2019s, her story reminds us that behind every theory about the end of the working class there are living and breathing people in flesh and blood. The applauses are loud. I think of David Graeber when he said that with its imaginative and creative powers the working class can take care of itself. Telling working-class stories is fundamental, for it allows us to restore pride, to reaffirm our existence. To resist humiliations. Dario explains it very well when he tells of how they tried to eliminate blue overalls in favor of white ones \u2013 replacing blue with white was obviously functional to destroying the symbolic power of the color blue, but also to making people feel dirtier while working, thus losing their pride in manual labor (after five minutes wearing white as a metalworker you\u2019ll obviously be covered in dirt and see and feel it all day, and it humiliates you for who you are).<\/p>\n\n\n\n

The festival ends with the same feeling you get leaving a party. It\u2019s been fight, joy, revolution. It\u2019s been an act of cultural reappropriation. It\u2019s been an April Fool’s joke on capitalism. A prank by crazy workers who tried to put their hands on culture. We\u2019ll do it every year.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/a> The Cultural Convergence Project<\/p>\n\n\n\n

[2]<\/a> The name of the bar plays on the first person singular of the verb barcollare<\/em>, Bar \u2013 collo<\/em>, literally \u201cto stagger, to falter.\u201d Implications for the Italian reader are many: barcollo ma non mollo<\/em> (I\u2019m faltering but I won\u2019t fall) is a popular idiom; people barcollano <\/em>when they are very tired, or when they\u2019ve had a few drinks.<\/p>\n\n\n\n

[3]<\/a> Comrades.<\/p>\n\n\n\n

[4]<\/a> Literally \u201ceverything\u2019s fine.\u201d The Italian title translates the original French in Crepa padrone, tutto va bene<\/em>, thus adding an initial \u2018exhortation\u2019 to death addressed to the masters.<\/p>\n\n\n\n

[5]<\/a> Untranslatable pun in the original. Here Prunetti plays on the word vite<\/em>, which in Italian is both \u201cscrew\u201d (la vite<\/em>) and the plural of \u201clife\u201d (le vite<\/em>).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n
<\/div>\n\n\n\n

Photo by Andrea Sawyerr<\/p>\n\n\n\n

Traslated by Serena Demichelis<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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