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Valentino
Natalia Ginzburg; Introduction by Alexander Chee
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R273
R223
Discovery Miles 2 230
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All Our Yesterdays (Paperback)
Natalia Ginzburg; Translated by Angus Davidson
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R420
R359
Discovery Miles 3 590
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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.
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All Our Yesterdays (Paperback)
Natalia Ginzburg; Translated by Angus Davidson
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R346
R287
Discovery Miles 2 870
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'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.
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The Dry Heart (Paperback)
Natalia Ginzburg; Translated by Frances Frenaye
1
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R266
R216
Discovery Miles 2 160
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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.
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.
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Voices in the Evening (Paperback)
Natalia Ginzburg; Translated by D.M. Low; Introduction by Colm Toibin
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R358
R289
Discovery Miles 2 890
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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?"
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.
"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"
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.
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Happiness, As Such (Paperback)
Natalia Ginzburg; Translated by Minna Proctor
1
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R302
R247
Discovery Miles 2 470
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The Dry Heart (Paperback)
Natalia Ginzburg; Translated by Frances Frenaye
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R305
R244
Discovery Miles 2 440
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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, arguably the most important woman writer of
postwar Italy, always spoke of herself with irrepressible modesty.
Yet the woman who claimed she "never managed to climb up mountains"
in fact wrote the history of twentieth-century Italy with her
sparse and captivating prose, chronicling Fascism, war, and the
Nazi occupation as well as the intimacies of family life.
Ginzburg's marriage to Leone Ginzburg, who met his death at the
hands of the Nazis for his anti-Fascists activities, and her work
for the Einaudi publishing house placed her squarely in the center
of Italian political and cultural life. But whether writing about
the Turin of her childhood, the Abruzzi countryside, where her
family was interned during World War II, or contemporary Rome,
Ginzburg never shied away from the traumas of history-even if she
approached them only indirectly, through the mundane details and
catastrophes of personal life.
Intensely reserved, Ginzburg said that she "crept toward
autobiography stealthily like a wolf." But she did openly discuss
her life and her work in an extraordinary series of interviews for
Italian radio in 1990. Never before published in English, "It's
Hard to Talk about Yourself" presents a vivid portrait of Ginzburg
in her own words on the forces that shaped her remarkable
life-politics, publishing, literature, and family. This fluid
translation will join Ginzburg's autobiography, "Family Sayings,"
as one of the most important records of her life and, as the
editors write in their preface, "the last, unexpected, original
book by Natalia Ginzburg."
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