The The presence of few critical material on Enzo Striano's literary work could be explained referring to his editorial story, still in progress: if in 2000 Mondadori press has published his first novel Giornale di adolescenza ( Adolescence journal) . Still unpublished are the short novel Nausica ed Odisseo ( Nausica and Odisseo ), the long essay Un'etica per Narciso . Appunti per un'ideologia della società dei consumi (An Ethic for Narcise. Notes for an ideology of consumer society ) the theatre pièce Quel Giuda nominato Trotskij ( A Judas named Trotskij ) and some novels. The novels Il Delizioso Giardino ( The delicious garden ), I Giochi degli eroi ( Heroes'games ), Indecenze di Sorcier ( Sorcier's Indecency ) have never been published again and are, at the moment, not recoverable.
Recently have been published the 1956 story Reparto diversi (Department diverse) (Napoli, Dante & Descartes, 1999) and the 1973 essay Cattiva Coscienza . Falsi miti e romanzo su Napoli ( Bad consciousness, false myths and novel about Naples ) Napoli , Oxiana, 1999).
Critical works on Enzo Striano have been limited by this partial visibility of the author in the landscape of Italian literature in the second part of the Twentieth century. Nevertheless, around the Seventies, the first analysis of Striano's work (by Giorgio Bàrberi Squarotti and Carmine Di Biase) focus on the thematic originality and on the experimental dimension of the writers' structural and stylistic system.
With Il resto di niente ( The remains of nothing ) published in 1986, the discourse about Striano was again started by another writer Domenico Rea, who wrote the first review of the novel focusing on the descriptive force, the narrative rythm the linguistic value (“language in this book raises to an height rarely reached by other Italian writers. The narrative is fluent and never gets stuck for any reason”… [Rea, 1986].
Another writer, Michele Prisco, wrote about Striano's novel, saying that it is an important piece of Naples' literary history ( « An extraordinary beautiful novel, where everything is not portrayed but represented in a narrative function and obeys to an expressive naturalness thanks to an effective and fast writing which is its most vivid trait”) [Prisco, 1987] .
After Striano's death, some intellectuals understand that it is necessary to go beyond Il resto di niente and recover all the writer's work. The poet Alberto Mario Moriconi points this out in many writings. The respectable writer Luigi Compagnone writes many times on the newspapers “Il Mattino” and “La Repubblica” in order to ask attention for Striano who was “not the historian, but tie poet of the unhappy Neapolitan republic”. Moved by an ethical commitment, Compagnone points out that Striano had been emarginated with not understandable superficiality by literates and publishers, as it often happens to true geniuses.
Also Felice Piemontese believes that Il resto di niente is a representative case of a false and corrupted literary world, managed and controlled by an external logic.
The first monographic work about Striano has been made by the Italian literature scholar of the University of Naples “Federico II” Francesco D'Episcopo and has been published in 1992 by Liguori Editore. D'Episcopo develops an intense interpretative discourse of Striano's whole work focusing on the writer's thematic choices and their evolution in the different works from an internal perspective which refers to a whole narrative system, marked by citations and notes . >>>>>>>>