Tag Archives: Europa Editions
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.
To celebrate both special issue “Reading Domenico Starnone” and the publication of Starnone’s latest novel in English, “Trust” (Europa Editions) translated by Pulitzer prize winner Jhumpa Lahiri, the Italian Cultural Institute in Dublin is hosting an online conversation with Domenico Starnone (in Italian with English translation), on 26 October 2021 at 6pm GMT (7pm in Italy), moderated by the editors of Reading 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 […]
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.
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.
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.
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.
“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.
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.
I’m not sure there’s an Italian word for microaggression. If there is, it is probably lifted from americano.