It is worthwhile to mention the following recent works related to these issues: Il Mondo Deve Sapere (Murgia) and Generazione Mille Euro (Incorvaia, Rimassa), as well as the classic Tutti Giù per Terra (Culicchia). Especially in recent years, this literary protest emerged to condemn flexible employment contracts. The aforementioned issue, which is highly topical, became the subject of numerous novels written by the young and often unemployed. In this article, much attention is paid to the necessity of writing as a method of capturing the reality, or simply as a way of making a living. This article examines the changes that have occurred to society and its needs emphasis is placed on the evolution of legal regulations and on the creation of the new literary topos, such as the call centre-acontemporary non-place of the precariat.

This paper examines how the working conditions in Italy are represented in the literature of the last 20 years written by young authors, from the 1990s and the beginnings of Postmodernism’s influence on young people, up to the new century and its relative propensity for risk-taking. It interprets its symbolism and power dynamics as a comment on the generational struggle produced by the emergence of precarity in the economic and poetic dimension of Italian art. Articulated from the position of a Millennial Italian who was trained as a literary historian in the late years of Berlusconian hegemony, the essay concludes on an episode from Murgia's 2015 novel Chirù.

Its main focus is on Murgia's 2006 book Il mondo deve sapere, and on the rhetorical and ideological shifts with which its 2008 adaptation, Tutta la vita davanti, subverted and appropriated its first-hand take on precarity. Its main argument is that one of the most generative (and nefarious) shifts of paradigms produced by precarization was an unprecedented overlapping of class and generation. Mobilizing the perspective of a Millennial author of comic books (Zerocalcare), a Gen-Xer author (Murgia) and the Boomer filmmaker who adapted her debut book into a film (Virzì), this essay invites to look at the poetics of precarity in 21st century Italian culture through the lens of generational divides.

Accabadora by Michela Murgia