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But the anticipation is premature, the comparisons misplaced. The brilliant friend Arbus soon drops out of the text. So do the devices that novelists as different as Ferrante and Knausgaard rely on: characters, dialogue, incident, chronology, and, especially, the rendering of everyday life through precise, detail-flecked paraphrase. For a few hundred pages, nothing much happens. The most dramatic incident Albinati relates from his school days involves some bullies whipping a weaker boy, as in a rite of flagellation.

The rape and murder is treated in a dozen unspectacular pages. Two young men who went to school with Albinati abduct two young women after a double date and take them to a vacation house on Monte Circeo, between Rome and Naples; joined by a third young man, they rape the women, kill one of them, wrap them both in plastic, and stuff them in the trunk of a car; then they drive to Rome and park the car overnight in the Quartiere Trieste, where the surviving woman, kicking and screaming in the trunk, is heard by a neighbor.

A century later, Albinati has fictionalized the crime his classmates committed and elaborated on it in the language of broad-brush cultural criticism. The crime, he writes,. Stigmatized in words, the horror became accessible, within reach of one and all. That reflection comes three hundred pages after the account of the crime.

In the interim, Albinati the author-narrator holds forth on many topics. More broadly, he regards this notion of the gratuitous as a key that unlocks the mysteries of contemporary life. It is often characterized by excess, as in acts of cruelty and torture.

It is a very late entry in the long European tradition of the novel as a quasi-philosophical essay in disguise. Mostly, though, he writes as Edoardo Albinati, an author in middle age who is struggling to finish a book. Weary of fiction, he expounds on whatever is on his mind, and the very long novel becomes a succession of slantwise essays about gender, sex, and power.

He paraphrases thinkers from Freud to Judith Butler; he flirts with autofiction, making a record of his reflections through several Easters, as the parish priest, following Italian custom, shows up to bless his apartment divorced, Albinati is back in the old neighborhood and engages with him on the question of whether and what he believes.

The title, like so much else in the book, seems arbitrary. Albinati was never a fervent believer, and he stopped going to Mass in his early teens. All the same, Catholicism is a subject he cherishes. For him, as for many fallen-away Catholics, the further he gets from his Catholic upbringing, the more he has to say about it. In his own life, he sees the influence of his education in a double way. Thus Catholic school raised them to be inwardly divided, set against themselves—at once desiring and despising worldly things.

That is nothing new. Thinkers from Nietzsche onward have found fault with Christianity for exalting submission. University of Lagos don suspend di second lecturer wey dey di BBC Africa Eye investigate wey show sexual harassment for two ogbonge universities for Ghana and Nigeria. Dem catch Dr Samuel Oladipo for secret film wen im dey try ask di undercover reporter out as she dey pose as student.

Unilag announce for Monday sey dem don suspend Dr Boniface Igbeneghu, wey also appear for di documentary.

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