The novel and the poetry are bad but the trappers feel great

A new book by Italian writer Walter Siti has sparked debate over the current state of literary forms such as novels and poetry, while highlighting the growing influence of contemporary hip-hop artists, known as trapper, as unexpected custodians of poetic expression. Published by Rizzoli in June, Il romanzo sotto accusa (per non parlar dei versi) collects essays and articles, some previously unpublished, in which Siti traces the evolution of a once-revered literature now regarded with skepticism. His analysis spans from Dante and Gadda to Genet and Campana, and extends into modern works including the lyrics of hip-hop musicians and texts shaped by artificial intelligence. The book concludes with a sharp critique: while the novel faces scrutiny, poetry appears even more marginalized. Siti argues that hip-hop artists have taken up the mantle of preserving poetic traditions, often unconsciously reviving ancient techniques through their music. He examines the rhythmic structures and lyrical styles of these artists with the same scholarly rigor he applies to classical poets like Montale. According to Siti, the spoken word and raw emotion expressed in hip-hop mirror the essence of poetic form, with rhythm preceding meaning and intuition guiding composition. This perspective suggests that the genre’s informal origins have allowed it to retain elements of poetic tradition that mainstream literature has largely abandoned. Among the artists analyzed, Siti highlights Massimo Pericolo, whose rhymes feature repetitive vowel patterns reminiscent of medieval epic poetry. He draws parallels between the gangster persona of certain artists and the archetypal figures found in traditional storytelling. Similarly, he interprets the work of Marracash as a blend of introspection and self-criticism, particularly in lines that challenge the very nature of artistic creation itself. In one example, Siti notes how a lyric urging listeners to abandon their struggles resonates with deeper themes of accountability and authenticity. The book also explores the work of younger artists, such as the 17-year-old rapper known as La Vergogna, who uses her lyrics to explore identity and confusion within urban environments. Siti identifies echoes of Rimbaud’s “I am another” in her verses, suggesting that her fragmented voice reflects a broader cultural shift toward individualism and self-expression. Another artist, Rancore, is examined for his ability to weave cosmic imagery into his flows, evoking a sense of grandeur lost in conventional literary education. Siti’s central argument revolves around a paradox: the highest forms of literary tradition are being rediscovered in unlikely places, in the raw, unfiltered expressions of young artists rather than in academic circles. These artists, often dismissed as mere entertainers, are instead offering a renewed vision of poetic language rooted in personal experience and emotional truth. The book raises a pressing question: will these artists succumb to the superficiality that comes with fame and commercial success? Or will they continue to push boundaries, resisting the homogenization of artistic expression? As the decade-long rise of hip-hop in Italy reaches its tenth anniversary, Siti’s work invites reflection on the evolving role of poetry in a rapidly changing cultural landscape.