Valerio Massimo Manfredi
Il mio nome è nessuno- Il ritorno

THE REVIEW

In "The Oath," our protagonist goes through the Trojan War, personalizing the Iliad, now jumping onto the lines of the Odyssey.
The character, who is well-crafted, expresses phobias and passions in various parts, from interactions with goddesses and nymphs to rejections due to "fear" towards other companions. Kirke, Nausicaa, extremely well-detailed female figures, Athena, a conductor reminiscent of the Nike myth, the part of the goddess dedicated to victory, also finds room for a depiction of the temple and the effigy in the story.

Odysseus, the one who is hated, finds justification in his wandering for the offense to Poseidon in blinding the Cyclops Polyphemus, and finds further confirmation in his visit to Hades where he encounters Tiresias, the blind who sees everything.

The description of the pyres and sacrifices is very detailed, removing from the mysticism that envelops the Ionic style that unnecessary dust which, in many school textbooks, is administered to inattentive students.

The figures of fathers, sons, are found in situations where the mirror seems to say "I am you," but roles and responsibilities are distinguished. I found the relationship between power and responsibility delicate, especially in the passage where hungry men give in to instinct and eat the livestock of the sun god.

To be savored until the end, wanax, the king, remains the main character, but Nestor, the other counselors, carve out a dignity within the narrative that is rarely given to secondary characters. Finally, the tribute to the swineherd is wonderful, and the conclusion of Penelope's web, highly recommended to be savored with the time necessary for reflection on what happens on stage.