Original edition: Zanardi 2 (Fandango Libri, 2008)
National / Spain edition: Run, Zanardi. Fulgencio Pimentel. February 2019
Script: Andrea Pazienza
Drawing: Andrea Pazienza
Color: Andrea Pazienza
Format: Rustic with flaps. 144 pages
Price: 27 €
“If something had to happen to me, I want only a little land in San Severo, and a tree on top …”
Andrea Pazienza (1956-1988) is the most savage reincarnation of authors as complete as Dino Battaglia or Hugo Pratt.
It is impossible to stop speculating how far this genime of fumetti would have come if it had survived its fatal destiny. With only 32 years, recently completed, Pazienza already had behind him a huge, brilliant, visceral, erratic, avant-garde and full of experiments that foreshadowed the imminent arrival of a great creation; a job that would unite all his creative potential. His sudden death truncated all these expectations and made us go over and over again his published work in search of this masterpiece that we so longed to enjoy … to finally understand that in reality his masterful work was the totality of his production. Each word, each stroke, each color … each page made by Andrea Pazienza was part of a unique, bright and fully coherent universe that has left us forever.
In Corre, Zanardi is compiled eleven short stories of variable size that have as protagonist to Massimo Zanardi a 21-year-old who lives in Bologna. Zanna is almost always accompanied by two classmates called Roberto Colasanti and Sergino Petrilli – Colás and Pietra – who will assist him in his misdeeds. In fact, in the first appearances of the series published in Spanish magazines, these stories bore the title of The gang highlighting the group aspect of the stories.
This album is the second part of an edited diptych by Fulgencio Pimentel
The first volume titled simply Zanardi was published in 2015. With this we can say that all the stories of this character are compiled, except for one that remained unpublished both in magazine and album until 1997 and that was included in the book Peace of the Italian publisher Einaudi. It is just a narrative sketch, an eight-page joke of a single vignette where an angry Zanardi interacts with its creator.
Run, Zanardi is a compendium of urgent stories, full of social rage, suburb morality and violent sex. But it also includes some of the fragments of the highest art ever made by the genius of San Severo. Lobos and medieval Zanadi can be considered together with La prima delle tre and Noche de Carnaval – present in the first volume published by Fulgencio Pimentel – as one of the highlights of this author's art so prone to flashes of excellence.
In the first volume we attended several episodes of the empty life of three young people who focus their lives on getting drugs, practice urgent and furious sex, blackmail and also meet their creator in a movie theater and fight with him. It is the initial phase of the series, between 1981 and 1984 where Pazienza struggles to push the main character to the limit but still retains a certain logic of black genre and cynical comedy of customs.
In this second volume the Italian author gives another twist to his creations and leads the characters into unfamiliar surroundings; “Perché la pazienza has a limit, Pazienza no”.
After an episodic prologue of four splash pages, this second part of the anthology opens with one of the most transcendent stories of the saga. Lobos is a twelve-page story – plus another as an epilogue – where the trio perpetrates a terrible vendetta. A cold and cruel revenge of which the causes are not explained and which will go unpunished. By structure and by its graphic treatment: in full color and with the alternation of hyperrealism and caricature, it is a story of the same magnitude as Carnival Night or La prima delle tre and another one of the exceptional moments of the series. Then we find three stories grouped with the generic title of good manners. Three stories in black and white where the daily nihilism of the gang is deepened and where diverse characters – especially women – come out especially badly from their encounters with Zanardi, Colás and Pietra. They are episodes full of sadism, anger and a certain moral of pornographic film.
Finally we will highlight medieval Zanardi. A 26-page epic where Pazienza experiments both thematically and graphically and places his main character Zanna in the midst of a hallucinated and ghostly feudal dream that explores the most Pasolian myths of the past.
The graphic evolution that Andrea Pazienza experiences Throughout this series, and in general throughout his career, is part of the message. The astonished reader witnesses a continuous unfolding of evolutions, of experiments, of convergent and antagonistic styles that are subordinated to the immediate service of the narration and that conform an own and unprecedented language.
Will Eisner explained to Neal Adams that one could not draw realistic comics in a convincing way without mastering the technique of humorous drawing, caricature, cartoon … And this is especially noticeable in real masters such as Eisner himself, Roy Crane, Osamu Tezuka or Harvey Kurtzman.
Pazienza is his prodigal son. He was an artist as versatile as he was great. He never tired of experimenting and always looked for the right tone and the right style for each story, for each sequence sometimes for a single decisive moment.
Pazienza's style is a wise and forceful mixture of cartoon and realism. And one feels to feel its enormous influence in the works of authors and artists as important as Lorenzo Mattoti, Javier Pulido or Christophe Blain.
The eyes of Zanardi
Massimo Zanari is a charismatic, cruel and chameleonic character. Over the years, his figure has given rise to multiple interpretations, from the most autobiographical to the political; designating him as the incarnation of certain revolutionary ideas, as a sapper of bourgeois society in the eighties.
His physical appearance also contributes to all kinds of lucubrations. He is tall, slender, possesses a slender but somewhat hunched figure. Dressed with an old-fashioned elegance that comes from the locker provided by a distant relative. He is red-haired and he has bangs that he pulls to the right. He always has a cynical smile on his face that is topped by a prominent nose, bent and pointed that has a counterpoint in his sharp chin. Sometimes it looks like a hoop earring in the right lobe. Pazienza often transforms him into an agile and untamed demon.
However, his most characteristic feature, his main anatomical quality are his eyes. Zanardi has a penetrating, deep, cold and cruel look. Sometimes the brightness of a desire is seen in it, but it usually terrifies by the immense emptiness it reflects. It is the inner emptiness of a character always lurking, never satisfied; Without hope but without fear
Andrea Michele Vincenzo Ciro Pazienza, better known as Andrea Pazienza or simply Paz, was born in San Bennedetto del Tronto in the Italian province of Ascoli Piceno, in May 1956.
The first part of his childhood was spent in the town of San Severo, which became his lost paradise. When he was 12 years old, he moved to Pescara to study his secondary studies and later he enrolled in the artistic lyceum. There he will meet Tanino Liberatore, a fumetti artist like him and creator – together with screenwriter Stefano Tamburini – of the Ranxerox character. It is at this time that he begins to draw his first comics.
In 1974 he enrolled in the DAMS (Discipline delle Arti, della Musica e dello Spettacolo) at the University of Bologna.
In 1977 he published in Alter Alter magazine the story Le straordinarie avventure di Pentothal, an experimental work, a graphic delirium that immediately places him at the forefront of his time.
The same year – together with Tanino Liberatore, Filippo Scozzari, Stefano Tamburini, Massimo Mattioli – founded the publishing house Primo Carnera Editore and Cannibale magazine. He collaborates for Il Male magazine and makes short stories, covers, political commentaries and graphic jokes for countless publications. In 1980 he founded another magazine called Frigidaire together with Vicenzo Sparagna and other collaborators.
Since 1983 he devoted himself to teaching, first in the Libera Università di Alcatraz and later in the Scuola di Fumetto and Arti Grafiche Zio Feininger that he created together with artists such as Roberto Raviola (Magnus), Lorenzo Mattoti and Silvio Cadelo.
At this time he continues to publish in magazines such as Comic Art, Linus, Zut and various Sunday supplements of national newspapers.
He also works in scenography, painting, video clips and posters for films. He collaborates with artists such as Federico Fellini, Roberto Begnini and Giorgio Rossi
It is in this period that his addiction to heroin begins to affect him in a serious way and he begins his stays in rehabilitation centers.
In 1986 he marries the also comic artist, Marina Comandini and moved to live in the town of Montepulciano.
He died in June 1988, allegedly of an overdose of heroin, although this fact has never been confirmed by his family. He was buried in the San Severo cemetery.
His outstanding works are:
Le straordinarie avventure di Pentothal (1977)
Zanardi or The gang (1981-1988)
The book rosso del male (1981)
Perché Pippo sembra a sballato (1983)
And also numerous anthological collections and compilations posthumous of his works.
Andrea Pazienza was an avid reader of poetry, a film scholar, painter and a lover of popular music. He was also passionate about the fumetto and its references in all these fields were:
Carl Barks, Tex Avery, Moebius, Rick Griffin, Victor Moscoso …
Rembrandt, Caravaggio, Canaletto …
The dadaists, Tristan Tzara, Gabrielle D'Annunzio, Giovanni Arpino …
The last tango in Paris by Bernardo Bertolucci, To the last breath of Jean-Pierre Melville, The city of women by Federico Fellini …
Keith Richards, Sid Vicious, Sting, Freddy Mercury and Diana Ross.
Because I'm not surprised …
The edition of Corre, Zanardi in charge of the Fulgencio Pimentel publishing house supposes to finalize the compilation of the practical totality of the series. The book presents the same characteristics as the previous volume. It is bound in paperback with flaps, the printing is good, the paper thick and matt, also this time does not absorb the colors as in the first volume. The prologue is by Rubén Lardín and includes sketches, illustrations and photos of the author. It has a reasonable price.
At the beginning we affirmed that Andrea Pazienza was the wildest disciple of two masters like Dino Battaglia and Hugo Pratt.
The first one takes his search for graphic excellence, experimentation narrative and the propensity to virtuosity. Of the second; his tendency to minimalism, the constant refinement of style and the ease of creating charismatic characters. Massimo Zanardi has physical features similar to those of Corto Maltese, but above all he has that free spirit and his great nonconformity that makes them stand out above their peers. Zanna is an urban Short with punk ideology.
Run, Zanardi is a perfect vehicle to enter the wild, bright and chaotic universe of Andrea Pazienza. Hopefully it is not the last one. His work is one of the most intense but most hidden gifts of the European cartoon scene of the last century. The readers of the 21st century have / have a debt to this master of fumetto and the editors have a moral obligation to facilitate their payment. We expect works as different as Le Straordinarie Avventure Di Pentothal, Pompeo or Amateurs. A treasure to be discovered.
& nbsp; Original edition: Zanardi 2 (Fandango Libri, 2008) National edition / Spain: Run, Zanardi. Fulgencio Pimentel. February 2019 Script: Andrea Pazienza Drawing: Andrea Pazienza Color: Andrea Pazienza Format: Rustic with flaps. 144 pages Price: € 27 & nbsp; “If something had to happen to me, I want only a little land in San Severo, & hellip;
Run, Zanardi. The emptiness in the look
Run, Zanardi. The emptiness in the look