Federico De Caroli
Il futuro è finito

Far beyond the standards of the dystopian novel and well beyond the predictable atmospheres of any futuristic thriller, this hefty tale (540 pages) presents a visionary labyrinth of places and characters that, through the intertwining of the subconscious, becomes a radical metaphor for the individual and social drift of our time, delivering a final blow that leaves no doubt about which "creed" the author has consolidated. It's no coincidence that the back cover mentions a nihilistic hypothesis on the destiny of the human race. Federico De Caroli, active for decades in the electronic and ambient music scene under the nickname DECA, has written something that transforms from mere reading into a tangible experience, as engaging and densely woven is the plot he creates and develops throughout the chapters. It begins with a reflective and almost Proustian pace, chiseling states of mind and networks of memories, describing a city (the metamorphic city) with incredible realism of dreamlike suggestions; then it drags the reader into a spiral of enigmatic and symbol-laden events, which take shape as a gigantic prophetic fresco. Aided by a rich and sophisticated vocabulary, yet never cumbersome, the stylistic identity and mastery of narration allow immersion into this adventure—even narrated in the first person—with an unusual level of participation.

The protagonist wanders disoriented and seemingly aimless, unable to piece together the fragments of his present that persist in giving him fallacious visions and perceptions. He gets lost in the dark corners of daily life where others seemingly live normally, first alone, then in the company of a young woman who becomes an emblem of honesty and purity, now engulfed by the darkness of social madness and the loss of any kind of faith. In a crescendo of adventures that become increasingly "material" and thus disturbing, the last chapter surprises the reader and hurls them into a devastating new context, where the paradoxes and unease of previous chapters reveal themselves as a complex metaphorical and premonitory trail. The fate of mankind is devoid of any hope and redemption, inevitably marked by the evil nature of humanity itself which offers no room for the weakness of compassion. Indeed, De Caroli’s thesis is that the inalienable force of arrogance and oppression is always and in any case victorious over the strength of pity. And that the destiny of everything and everyone is always determined by the assertion of a right to override the needs of others with one's own.

A thesis that is sure to spark dissent and hostility, especially among those who affirm and support the power of the three theological virtues (faith, hope, charity) even if not necessarily tied to any form of worship or religion.

"The Future is Over" is a very beautiful novel, in any case. The result of certainly careful and capable work, not identifiable in a precise genre despite touching on several genres, well-balanced in the outcome of a reading that captivates and at the same time invites deep reflection.

It should be noted that in 2014 an album was released (which shares its title with the novel's subtitle, "Onirodrome Apocalypse," and the same cover) in which De Caroli/Deca described with music the environments and atmospheres we now find in the novel.