If Marco's convalescence and love affair are less interesting, they do not detract greatly from a remarkable book. Giuliano Montaldo, in his directorial debut, made the novel into a movie in , which Rimanelli rejected as a falsification of his book. Rimanelli's second novel, Peccato originale , was not as successful as his first. While his previous novel was told through the eyes of Marco, Peccato originale is told in third person by various members of the Vietri family who are trying to immigrate to America.
Nicola Vietri is the family patriarch, desperate to arrange for his family to emigrate, while his wife, Ada, is reluctant to leave, but allows herself to be persuaded by Nicola's tales of a country that has economic opportunity and indoor plumbing. The third perspective comes from their sixteen-year-old daughter, Michela. One night Michela is sexually assaulted, and according to the town's honor, Nicola is expected to seek vengeance against the rapists. Nicola painfully decides to live with the crime rather than seek vengeance and stand trial. His choice is made irrelevant, as he is later killed while attempting to evacuate farmers from land where a new water line is being built, ironically sacrificing his life for the device that will bring technology to the town he wanted to leave.
Ada decides to continue with her husband's dream, but before they do, the town takes revenge on the rapists. At the close of the novel, Ada and Michela leave for America, but not before the women of the town castrate one of the rapists, restoring order to the town as abdicated by the rules of the community. Burns in a Library Journal review.
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But while Burns's review was positive, many in the Italian community believed the explicit brutality of the novel far overshadowed any worthwhile message the novel had. Following his parents and brothers who immigrated to Canada in , where he worked as the editor of Il cittadino canadese in Montreal. His third book, Biglietto di terza is a retelling of his time in Canada. The book is a mixture of a travel diary, adventure story—complete with photographs of the Canadian wilderness—and realistic narrative fiction. Still, Rimanelli cannot reconcile the struggle between home and adventure.
Biglietto di terza describes the Canadian towns as similar to those of his Italian home: they too are oppressive, and it is only in the Canadian wilderness that peace can be found. At the end of the book, the narrator prepares to return to Italy because he is not ready to leave behind his past to live in this vast land.
Rimanelli's fourth novel, Una posizione sociale is similar to his previous works, a mixture of autobiographical works and fiction, taking place all in one night, January 15, The narrator is a sensitive ten-year-old boy named Massimo. The boy spends most of the night searching for someone to help his mother give birth. Because Rimanelli wrote the novel after spending years away from his home of Casacalenda, perhaps, this novel has a less critical view of life in the small town.
This is another trait that runs through Rimanelli's characters. While his younger characters long for adventure, his older characters would be driven by the opposite desire—a desire to return to their homelands after having left them to travel the world. Rimanelli had been writing a collection of columns under the pseudonym A. Solari since for Lo Specchio , a Roman weekly.
Publishing them in book form through Sugar, a minor Milan publishing house, he attacked his fellow writers of compromising their art due to their politics. Anti-Fascism in the post- World War II era became prison for artists in Italy, said Solari, who called the writings of the time "gli isterici," or hysterical art. Solari said that hysterical art is reflected or filled from artificial sources, while real art comes from the artist's own personality.
Before the publication of Il mestiere del furbo: Panorama della narrativa italiana contemporanea in , Rimanelli decided to reveal his identity with disastrous results. He was instantly shunned by writers and publishers and forced to leave Italy for North America. Rimanelli continued to write, traveling back to Italy and publishing a series of books with Marinelli, a publishing house there. His works during this time include Graffiti , an experimental piece that incorporates lyric poetry, stream of consciousness and dramatic dialogue.
Molise Molise includes poems and memoirs and displays the longing that Rimanelli felt for abandoning Italy and the rediscovery of the land.
Il tempo nascosto fra le righe is a collection of fourteen short stories. Carmina blabla: Versi e disegni, —, Monaci d'amore medievali, Arcano, Moliseide: Ballate e canzoni in dialetto molisano, Alien Cantina: An American Journey — are all poetry collections. The s saw a resurgence in the popularity of Rimanelli's early work. In Einaudi republished Tiro al piccione , introducing the novel to a new generation of readers. Sebastiano Martelli, in his introduction to the new edition, likens Rimanelli's style in the novel to such writers as Ernest Hemingway , Erich Maria Remarque , and Stephen Crane.
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Not only did Rimanelli see his popularity rise again in Italy, but he became an important American writer as well. Rimanelli's works often show the struggle of a "misfit" who, trapped in the confines of a small town, longs for the expansive possibilities of the outside world.
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Acting on that wanderlust, his characters find pain and violence. Upon returning to their homes they see the small community with a new light. Rimanelli's own life parallels these journeys, building a literary bridge that links both of his worlds.
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