Il Primo Giorno della mia Vita
by Paolo Genovese
I only knew Paolo Genovese from his film work, and was not aware that he had also written three novels, starting with Tutta colpa di Freud, which he adapted into a movie (2014) and a tv series (2021). Browsing at a bookshop in Rome, I came across Il Primo Giorno della mia vita (“The First Day of my Life”), published by Einaudi in 2018, and now the basis for a movie of the same name issued earlier this year starring, amongst others, Toni Servillo and Margherita Buy.
From what I’ve read about the film (which I’m yet to watch), the setting has been changed to an Italian one although the plot has been more or less retained. The original story is set in New York, and features four anguished individuals who, on the night of their would-be suicide, are saved by a mysterious old man and brought together for a week – seven days in which they are given the opportunity to reconsider their choice. There’s Napoleon, a highly-successful professional motivator who, however, finds it hard to motivate himself; Aretha, a policewoman struggling to come to terms with the unexpected death of her daughter; twelve-year old Daniel, a tv advert star who is also a bullied diabetic; Emily, a gymnast who is now in a wheelchair.
The novel is a thoughtful and non-judgmental meditation on life, death and suicide and on what makes it worthwhile to keep going even when the going gets tough. The themes are dark, but ultimately it’s an uplifting book – some might even find some pages rather too saccharine despite the black thread of tragedy which runs through it. The novel has a strong dose of magical realism too – the old man is clearly an angel or some sort of supernatural entity, whose backstory we briefly learn at the end. This gives Il Primo Giorno della mia Vita the feel of a contemporary fable.
Paolo Genovese’s experience as a film director and scriptwriter informs the style of the book. Despite its philosophical themes, there is a strong visual and aural element to this novel. Haunting descriptions of New York scenes are accompanied by a soundtrack made up of the songs played in the car by the old man as he drives the group around. And, as one would expect, it’s also strong dialogue, which reveals the psychological complexities of the characters more than any dry exposition would have done.
This novel
is recommended, particularly to those who have watched and enjoyed any of Genovese’s
movies.
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