To mark the occasion of the 700th anniversary of Dante’s death, Stanford Professor Robert Pogue Harrison and graduate student Donatella D’Aguanno orchestrated a panel that brought poet and translator Mary Jo Bang together in conversation with Emeritus Professor Marjorie Perloff. I saw the occasion as an opportunity to ask this most creative and skilled wordsmith a few questions about her process, her relationship to Dante, and her place in a long line of Dante translators.
In Sandro Veronesi’s second Strega Prize-winning work of fiction, we follow the protagonist, Dr Marco Carrera, a Florentine ophthalmologist, as he stumbles through a life strewn with miscommunications, misjudgements, and misfortunes.
By Olivia Soule In Sacha Naspini’s Nives, translated from the Italian by Clarissa Botsford, the significance of the long phone call that lasts almost the entire novel creeps up on you. Towards the beginning, the elderly, eponymous widow calls the local veterinarian when one of her chickens has become frozen in place; this everyday conversation […]
I find Botsford’s engaged and voice-driven translation style wonderfully refreshing and the diversity of her collaborations intriguing, so I was thrilled by the chance to talk with her about her recent work, her take on the Italian-English market, and her approach to the craft.
On the surface, “Vita mortale e immortale della bambina di Milano” (“Mortal and Immortal Life of the Girl from Milan”), Domenico Starnone’s latest literary gem (Einaudi, October 2021), has a deceptively simple plot. It relays the wondrous deeds of a young boy, Mimì (short for Domenico) who has a morbid curiosity towards death and is also the protagonist of three tragicomic love affairs.
By Chiara De Caprio Translated from Italian by Rebecca Falkoff Considering the novels and short stories of Domenico Starnone from a linguistic perspective means to bring out the double-edged quality and the internal stratification of their linguistic composition. A reasonable pace and feverish emotional sequences intersect in his works. His style alternates between solitary self-reflection, […]
While the protagonist’s relationship with his beloved, unfaithful wife (and his erotic liaison with Mena) remain on the background, along with Saverio’s jealousy towards Betta, the foreground is taken by the scurvy grandfather and his know-it-all four-year-old grandson.
“Via Gemito” is a bridge. A bridge between two careers, two narrative approaches, two ways of delving into marriage and intolerance, into the defects of love and disappointed expectations.
My position is all wrong. The water will forever spill onto the tomatoes, the plate, the cloth. My father placed me in a position where, even with Luigi reaching as far as he can, I will never be able to pour the water into his glass.
One day, a few years ago, Domenico Starnone himself came to my house for a visit. He brought his Via Gemito to my Via Luigia Sanfelice, so to say.
“Literature is the Sudden Disintegration of the Verbal Fabric of Everyday Life”: Domenico Starnone in Conversation with Enrica Maria Ferrara and Stiliana Milkova
I love the idea that the city we have left behind enshrines the ghost of the person we could have become, for better or worse, had we stayed there. And I am very fond of the idea that the ghost, which we consider part of us and therefore a friend, may turn out to be frightening or hostile.
Here I am, you may object, waxing lyrical about an author we publish at Europa Editions. Hypocrite éditeur! However, I write, I swear, not only, and not primarily, as Domenico Starnone’s American publisher, rather as a long-time and ardent admirer of his work. My admiration began with Denti—it was love at first bite.
By Andrew Martino Beneath the shadow of the golden dome of the Massachusetts State House on Boston’s Beacon Hill, the Boston Athenaeum sits quietly on a shaded street. To the casual passerby, the building sticks out for its striking architecture in a city increasingly dominated by steel and glass. Inside, some of the most profound […]
From the very beginning, readers are confronted with an exhausting tension between father and son, their antithetic visions threatening at every step to converge and become enmeshed into the furious flow of Mimi’s narrative which, despite his alleged commitment to a serene composure, is far from tidy or calming. That prose is, after all, the exhibition of a carefully performed identity, constructed through repetition of linguistic and paralinguistic gestures, reminding us of Butler’s idea that subjects are the effect of signifying practices and social discourse (Butler 1999).
Starnone captures and dissects a vast array of concerns in a slim volume, neatly structured and tightly plotted, yet at the same time open-ended, without definitive answers or solutions. “Ties,” in other words, packs a lot of baggage into a small container while also leaving the container ajar, like Pandora’s box.