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Reading the reviews below, I thought I should overcome my disappointment at this book to point one or two things to prospective readers: there is indeed a lively tradition bent on seeing futurism, Marinetti and Mafarka in particular as mouth-pieces of the most repugnant, reactionary misogyny, which at first sight it would be hard to deny: Eager to depart from the decadent canon represented by DAnnunzio or Sartorio, the author vocally rejected women and their veneration as a suitable subject matter for avant-garde art. The concern with unity and coherence characteristic of those movements lead them to translate their disregard for traditional female figures of art (love poetry, nude paintings, etc.) into a practical demand for scorn for women as worded in the founding manifesto of futurism. It comes therefore as no surprise to find in the titular Mafarkas struggles a vociferous rejection of the debilitating and pacifying effects of romantic love, and of what Marinetti conceives as its only harbinger: women. A closer examination of the futurist corpus and history, as well as quick survey of the feminist histories concerned with the movement, will reveal a much more complex and ambivalent position. To keep it short and sweet I will stick to Lucia Res excellent reading (here taken from her essay on Benedetta Cappa, Impure Abstraction: Benedetta as visual artist and novelist) but there is a wealth of litterature on the issue (most notably Barbara Spackmann and Cinzia Blum-Santini) : The first futurism (between 1909 and 1914) to which Mafarka clearly belongs, despite blatant and brutal misogyny, later attracted many women, and many feminitsts among those. This Re identifies as a resulting from its rejection of women as a subject of representation, and its ultra-virilist emphasis on homo-sociality and masculine bodies. Freed from the male gaze women in futurism in particular, and in the avant-gardes in general, where no longer committed to objectification and otherness, as they were in pure abstraction or in symbolist painting for example, and could become actors and producers of art. I would add that Marinettis love for the grotesque (see his Roi Bombance) must be understood as mitigating his pronouncements, as should the performative character of his movement. Paradoxically, futurism had many progressive effects on Italian society, before its insecure attention-seeking left it but a rotting puppet in the hands of the Fascist regime. The liberation of woman as an artist, the collapsing of the frontier between popular and high culture, or the recognition of the public sphere as a space for performance, are but a few examples. Unfortunately, all those qualities do not suffice to make Mafarka a worthwhile read: I really wanted to love the book, but there is rather little to salvage here. As Re mentions, futurist stylistic devices prove more suited to poetry or short prose than to long and constructed fictions like novels. There, boisterous emptiness of many futurist proclamations is generally mitigated by their social, political or cultural context. Here, Marinetti abstracted his tale by placing it in some orientalist wet-dream, which leaves his reader with little of interest save for the monolithic, obsessional, bumptious portrayal of a theme that was by then already old and treated much better elsewhere: vitalism. At his best Marinetti make some interesting uses of the metaphora continua and inject some theatrical forms in his novel, or practice a strange exercise of africanized subcreation complete with names, gods and geography (and it might be as a pre-Robert E Howard Sword & Sorcery this book should be read) ; But about halfway through, Ive had to force myself to go on...
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