Yet, numerous visible traces testify to this legacy. The architecture, the infrastructure, and the education, starting with the use of the term “colony” that in Italian culture takes on multiple meanings. It refers to overseas possessions, the Italian communities of emigrants abroad, and the lands reclaimed during the fascism period that gave birth to the so-called città di fondazione that caused a massive internal migration. The Italian State, since its unity, has created a narrative based upon the identification of places and people considered marginal. It is not re-evoking history but reading its meanings and evaluating its impact on current political issues that intersect with the social development of the country: the suburbs, the South, minorities, and second-generation Italians and the question of fascist ideology that has never dormant and has never been addressed and resolved in an open public debate. It has often been veiled, denied, or very often minimized. Precisely also placed on the margins. The photographic medium in the 1930s was a fundamental tool to justify the colonial policies based on racial segregation and to represent certain situations as marginal. Photographs became a performative act of exclusion. If the process of removing colonial history has pervaded Italian culture since the Second World War, ‘Romanzo Meticcio’ wants to bring this past to light. It creates new imaginaries and cultural scenarios for the future by questioning Italian identity to its core. My research does it by placing at the center what is marginalized, little represented, scarcely considered, and conceiving migrants and the following generations of new Italians in ways that go beyond rejection and victimization.