From "one of the most distinguished writers of modern Italy" (New York Review of Books), a classic novel of society in the midst of a war. This powerful novel is set against the background of Italy from 1939 to 1944, from the anxious months before the country entered the war, through the war years, to the allied victory with its trailing wake of anxiety, disappointment, and grief. In the foreground are the members of two families. One is rich, the other is not. In All Our Yesterdays, as in all of Ms. Ginzburg's novels, terrible things happen--suicide, murder, air raids, and bombings. But seemingly less overwhelming events, like a family quarrel, adultery, or a deception, are given equal space, as if to say that, to a victim, adultery and air raids can be equally maiming. All Our Yesterdays gives a sharp portrait of a society hungry for change, but betrayed by war. During the period described in the novel, Natalia Ginzburg was married to the writer Leone Ginzburg. Because of his underground activities, he was interned under Mussolini's reign, along with his family, in a restricted area in the Abruzzi. When the Ginzburgs later moved to Rome, Leone was arrested and tortured by the fascists, and killed, leaving Natalia alone to raise her three children. Skyhorse Publishing, as well as our Arcade, Yucca, and Good Books imprints, are proud to publish a broad range of books for readers interested in fiction--novels, novellas, political and medical thrillers, comedy, satire, historical fiction, romance, erotic and love stories, mystery, classic literature, folklore and mythology, literary classics including Shakespeare, Dumas, Wilde, Cather, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

'The places, events and people are all real. I have invented nothing.'

Natalia Ginzburg wrote her masterful, Strega Prize winning novel Family Lexicon while living in London in the 1960s. Homesick for her big, noisy Italian family, she summoned them in this novel, which is a celebration of the routines and rituals, in-jokes and insults and, above all, the repeated sayings that make up every family.

The father, Giuseppe Levi, is a Jewish scientist, consumed by his work and a mania for hiking. Impatient and intractable, he is constantly at odds with his impressionable and wistful wife Lidia - yet he cannot be without her. Together they preside over their five children in a house filled with argument and activity, books and politics, visitors, friends and famous faces. But as their children grow up against the backdrop of Mussolini's Italy, the Levi household must become not only a home - but a stronghold against fascism.

Intimate, enchanting and comedic, Family Lexicon is an unforgettable novel about memory, language, and the lasting power that family holds over all of us.

'It is perhaps best to say straight off that the book is a masterpiece.' New Yorker

'A small, entrancing classic.' Hermione Lee

“As far as the education of children is concerned,” states Natalia Ginzburg in this collection of her finest and best-known short essays, “I think they should be taught not the little virtues but the great ones. Not thrift but generosity and an indifference to money; not caution but courage and a contempt for danger; not shrewdness but frankness and a love of truth; not tact but a love of one’s neighbor and self-denial; not a desire for success but a desire to be and to know.” Whether she writes of the loss of a friend, Cesare Pavese; or what is inexpugnable of World War II; or the Abruzzi, where she and her first husband lived in forced residence under Fascist rule; or the importance of silence in our society; or her vocation as a writer; or even a pair of worn-out shoes, Ginzburg brings to her reflections the wisdom of a survivor and the spare, wry, and poetically resonant style her readers have come to recognize.

An almost unbearably intimate novella, The Road to the City concentrates on a young woman barely awake to life, who fumbles through her days: she is fickle yet kind, greedy yet abashed, stupidly ambitious yet loving too-she is a mass of confusion. She's in a bleak space, lit with the hard clarity of a Pasolini film. Her family is no help: her father is largely absent; her mother is miserable; her sister's unhappily promiscuous; her brothers are in a separate masculine world. Only her cousin Nini seems to see her. She falls into disgrace and then "marries up," but without any joy, blind to what was beautiful right before her own eyes. The Road to the City was Ginzburg's very first work, originally published under a pseudonym. "I think it might be her best book," her translator Gini Alhadeff remarked: "And apparently she thought so, too, at the end of her life, when assembling a complete anthology of her work for Mondadori.

With recent attention from The New Yorker and a big increase in sales, it's clear Ginzburg's work still resonates with readers. A fresh new package and layout will appeal to established fans and attract new readers. Will include a new foreword or introduction, author TK.

Arguably one of Italy's greatest contemporary writers, Natalia Ginzburg has been best known in America as a writer's writer, quiet beloved of her fellow wordsmiths. This collection of personal essays chosen by the eminent American writer Lynne Sharon Schwartz from four of Ginzburg's books written over the course of Ginzburg's lifetime was a many-years long project for Schwartz. These essays are deeply felt, but also disarmingly accessible. Full of self-doubt and searing insight, Ginzburg is merciless in her attempts to describe herself and her world--and yet paradoxically, her self-deprecating remarks reveal her deeper confidence in her own eye and writing ability, as well as the weight and nuance of her exploration of the conflict between humane values and bureaucratic rigidity.

Natalia Ginzburg, one of Italy's great writers, introduced "A Family Lexicon," her most celebrated work, with an unusual disclaimer: "The places, events and people are all real. I have invented nothing. Every time that I have found myself inventing something in accordance with my old habits as a novelist, I have felt impelled at once to destroy everything thus invented." "A Family Lexicon" re-creates with extraordinary objectivity the small world of a family enduring some of the most difficult years of the twentieth century, the period from the rise of Mussolini through World War II (Ginzburg's first husband, who was a member of the resistance, was killed by the Nazis) and its immediate aftermath. Every family has its store of phrases and sayings by which it maintains its sense of what it means to be a family. Such sayings and stories lie at the heart of a great novel about family and history.

After WWII, a small Italian town struggles to emerge from under the thumb of Fascism. With wit, tenderness, and irony, Elsa, the novel's narrator, weaves a rich tapestry of provincial Italian life: two generations of neighbors and relatives, their gossip and shattered dreams, their heartbreaks and struggles to find happiness. Elsa wants to imagine a future for herself, free from the expectations and burdens of her town's history, but the weight of the past will always prove unbearable, insistently posing the question: "Why has everything been ruined?"

The Dry Heart begins and ends with the matter-of-fact pronouncement: "I shot him between the eyes." As the tale-a plunge into the chilly waters of loneliness, desperation, and bitterness-proceeds, the narrator's murder of her flighty husband takes on a certain logical inevitability. Stripped of any preciousness or sentimentality, Natalia Ginzburg's writing here is white-hot, tempered by rage. She transforms the unhappy tale of an ordinary dull marriage into a rich psychological thriller that seems to beg the question: why don't more wives kill their husbands?

Natalia Ginzburg (1916-1991) is today recognized as one of the foremost woman writers to emerge from twentieth-century Italy. The Complete Short Stories of Natalia Ginzburg brings together in English translation for the first time the eight short stories that Ginzburg wrote between 1933 and 1965. These early works are significant in the context of Ginzburg's wider repertoire. The key themes and ideas occurring therein would come to characterize much of her later work, particularly in terms of her exploration of the difficulties implicit in developing and sustaining meaningful human relationships. Her short stories also provide intriguing insight into the development of her trademark literary style. Including an introduction by the translator and extensive contributions from Alan Bullock, Emeritus Professor of Italian at the University of Leeds, The Complete Short Stories of Natalia Ginzburg encourages a deeper understanding of Ginzburg's life's work and compliments those other collections and individual works which are already widely available in English.

"As far as the education of children is concerned," states Natalia Ginzburg in this collection of her finest and best-known short essays, "I think they should be taught not the little virtues but the great ones. Not thrift but generosity and an indifference to money; not caution but courage and a contempt for danger; not shrewdness but frankness and a love of truth; not tact but a love of one's neighbor and self-denial; not a desire for success but a desire to be and to know." Whether she writes of the loss of a friend, Cesare Pavese; or what is inexpugnable of World War II; or the Abruzzi, where she and her first husband lived in forced residence under Fascist rule; or the importance of silence in our society; or her vocation as a writer; or even a pair of worn-out shoes, Ginzburg brings to her reflections the wisdom of a survivor and the spare, wry, and poetically resonant style her readers have come to recognize.

"A glowing light of modern Italian literature . . . Ginzburg's magic is the utter simplicity of her prose, suddenly illuminated by one word that makes a lightning streak of a plain phrase. . . . As direct and clean as if it were carved in stone, it yet speaks thoughts of the heart." --"The New York Times Book Review"