The book by Silvia Salis coming out in October for Feltrinelli is called “It’s Already Tomorrow,” the same slogan used for the electoral campaign in Genoa and which also, coincidentally, recalls the successful film by Paola Cortellesi. As soon as the announcement arrived, everyone understood that Salis wanted to play the primary elections game. Now, if a politician writes a book, they either do it to launch themselves toward more ambitious goals (this happened with Meloni’s book “I am Giorgia”) or to justify themselves because they are now out of the scene. For Silvia Salis, the first applies. We know the phenomenology of the political book: no one reads them except insiders, but they are signals sent to friends and enemies. Both the former and the latter catch that phrase, that parenthesis, that allusion directed precisely at them between one page and another. And they know how to recognize it. And it must be said that Salis knows how to choose the right timing. Who even remembers the circumstance that Schlein also wrote a book some time ago? Giuseppe Conte recently churned out his resistible manual, “A New Spring,” and it was not exactly a success.
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Salis instead outsmarts everyone and comes out in October, when the primary elections site will be in the midst of slippery work and behind her, besides Renzi, there is also Franceschini who looks favorably on her as the “unifier” of the broad field. Salis already has the name of a party ready, Democratic Future, currently unusable because it can be confused with the other Future, the Vannacci one, but in a near tomorrow, indeed, anything can happen. And let’s leave aside the complaints about Genoa suffering from security and transport issues and which, however, has won with this mayor a special office for LGBTQ+ problems. These are marginal matters, on which that charmer Alessandro Onorato can rely, outclassed by Salis’s style, the Marianna of the broad field who offers herself to moderates and the left with the persuasive rhetoric of nothingness. This is how she presents her literary effort: “This book — she writes in the preface — was born to tell the day when you no longer ask yourself where you are going, but you just go, because tomorrow does not wait, it arrives, looks you in the face and judges you. And tomorrow, I have learned well by now, always begins today.”
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She has already gone where she needs to be to please a wordy and clumsy left: proclamations against CasaPound, exaltation of the 1960 riots that prevented the MSI congress, applause for the Flotilla, and then some sprinkling of gender ideology with the alias identity for municipal employees. So, while Conte and Schlein jostle to take the spotlight, she lurks there and thinks about the cover of the hard-earned papers she will publish. Isn’t the image everything in these cases? And who knows if the mayor knows the song by Sergio Caputo that is titled just like her book, It’s Already Tomorrow, and which at one point goes: “Taking yourself seriously is not easy / this life of ours in recovery / maturity keeps slipping further away / in tow of a futuristic mirage.” Doesn’t it fit her perfectly?
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