Abstract

The article aims to provide an overview of issues preliminary to the study of Carlo Emilio Gadda, which was radically changed, between 1974 and the 1980s- 1990s, by the emergence of decisive posthumous works and overall philological rearrangements, and it looks into Gadda’s vast and controversial critical fortune. The extremely fast contemporaneity suggests the need to adopt a flexible, plural, and “multipliedµ critical way of looking at Gadda’s work, refraining from any form of rigidification of methods and theories. All of this under the signs of plurality and multiplicity, which were always invoked by Gadda in his unstable and great work of narrator and essayist.