A Neapolitan Grandfather on the Edge: Domenico Starnone’s “Trick”
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.
Domenico Starnone’s “Via Gemito” is Back, as Text and Painting
“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.
“The Drinkers”: An Excerpt from Domenico Starnone’s “Via Gemito”
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.
The Alphabet of “Via Gemito”: A Photo Essay by Silvio Perrella
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.
The Three Lives of Domenico Starnone
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.
A Close Encounter with Domenico Starnone
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 […]
“Via Gemito”: Domenico Starnone’s Ur-Text
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).
On Bonds and Baggage: Domenico Starnone’s “Ties”
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.
Three Stories from Domenico Starnone’s “Fuori Registro”: “The Empty Classroom,” “Once Again,” “Dandelion”
A few minutes passed, and I felt ill at ease. Then I recited a poem and commented on it, in that loo: “The pensive father with his goatish hair…”
Degrees of Separation: Jhumpa Lahiri’s Translation of Domenico Starnone’s “Trust”
Starnone’s “Trust” often relies on intertextuality, implicitly suggesting that readers tap into their inner literary database as they navigate this text. The novel, like all forms of literature, does not and cannot exist in a vacuum, devoid of symbiotic interaction with the universal œuvre.
Often Petty, Definitely Bourgeois: Caterina Bonvicini’s “The Year of Our Love,” Translated from Italian by Antony Shugaar
By Alex Valente Caterina Bonvicini’s The Year of Our Love, translated by Antony Shugaar, is the story of Olivia and Valerio, who meet and grow up together in the same house while belonging to different families and class, who lose each other and find each other again several times, and who maintain a bizarre romantic […]
Mary Magdalene and the Revolutionary Power of Women’s History: Adriana Valerio’s “Mary Magdalene: Women, the Church and the Great Deception,” translated from Italian by Wendy Wheatley
Engaging in dialogue with an Italian feminist tradition that seeks to retrieve the voices and experiences of our female ancestors, Valerio is unwavering in her commitment to unearthing a “female genealogy” which will liberate women from the male-authored tradition that has misrepresented us for millennia.
Revisiting a Retro Radical: Anna Kuliscioff’s “The Monopoly of Man,” Translated from Italian by Lorenzo Chiesa
In 1890, Anna Kuliscioff stood before a packed house at the Philological Circle in Milan and delivered a searing speech on the “woman question.” 131 years later, Lorenzo Chiesa brings us Kuliscioff’s speech from that day, “The Monopoly of Man,” for the first time in English translation.
Turin’s Skies, Women’s Bodies, and Foreign Lands: Marina Jarre’s “Distant Fathers,” Translated from Italian by Ann Goldstein
The centrality of women’s experiences in current Italian fiction has drawn attention to previously neglected works. Although Jarre’s frankness about the body, from childhood to older age, is not shocking after Ferrante, it marked a new contribution to Italian literature in her time.