Tag Archives: Eric Gudas
nstead of by century or by literary movement, writers of fiction might be classified by times of day or slants of light. Tolstoy would fall under the clarity of high noon, Dostoievski the hysteria of three a.m. Natalia Ginzburg’s pervasive wit and minute details would suggest a morning sensibility, while her repetitions and obsessiveness feel nocturnal. In the end, though, she is crepuscular, like Chekhov.
We are stuck in a loop of “reintroducing Natalia Ginzburg.” The current iteration of that loop depends on publishers’ marketing of Ginzburg as a precursor to Elena Ferrante. However, this genealogy arises out of a necessity to sell books; Ginzburg’s relation to her peers—Cesar Pavese, Elsa Morante, Italo Calvino—has far more relevance than the specter of her impact on Ferrante.
On Humor, Eccentricity, and Sound in “Family Lexicon”: A Conversation with Ginzburg Translator Jenny McPhee
Jenny McPhee is an accomplished translator of Italian literature––she has translated works by Anna Banti, Anna Maria Ortese, Fausta Cialente, Natalia Ginzburg, Curzio Malaparte, and Primo Levi, among others. She received a Guggenheim fellowship in 2020. In this interview, which is part of the special issue “Reading Natalia Ginzburg,” we focus on her translation of Ginzburg’s 1963 novel Family Lexicon (Lessico […]
By Eric Gudas For decades, no matter how many of my books sit boxed up in storage, I’ve always had a tattered photocopy of the chapter entitled “The End of the Affair,” from Natalia Ginzburg’s novel Voices in the Evening (1961) in the translation by D.M. Low first published in 1963 by Hogarth Press. This […]
By Italo Calvino Translated from Italian by Stiliana Milkova and Eric Gudas Translators’ Introduction Natalia Ginzburg and Italo Calvino met in Turin in 1946, at the publishing house Einaudi where she was working as an editor and he would soon join the editorial staff. They became close friends and admired each other’s writing. In 1961, […]
By Jeanne Bonner I do not think of Natalia Ginzburg as a sad figure or a writer of sad, tragic works. I’ve seen her in old interviews, and I’ve read her nonfiction work. Archival photos often show her smiling. She was not melodramatic. She did not seek pity or any kind of rapt attention beyond […]
Unlived Lives in Natalia Ginzburg’s “Valentino” and “Sagittarius,” Translated from Italian by Avril Bardoni
By Eric Gudas One refers, as a commonplace, to “the unlived life”; but fiction excels at dramatizing people’s myriad unlived lives. Natalia Ginzburg’s fiction links stifled hopes and ambitions with suppressed speech. The narrators of Ginzburg’s Valentino and Sagittarius: Two Novellas (1957), which New York Review Books Classics has just reissued in Avril Bardoni’s decades-old […]