His father was a worker and an anarchist; Walter himself is a Communist. In the 1930s, he left Mussolini’s Italy to fight Franco in Spain. After Franco’s victory, he left Spain for exile in the United States. With the end of the war, he returned to Italy to work as a labor organizer and to build a new revolutionary order. Now, in the late 1950s, Walter is a deputy in the Italian parliament.He is not happy about it. Parliamentary proceedings are too boring for words: the Communist Party seems to be filling up with ward heelers, timeservers, and profiteers. For Walter, the political has always taken precedence over the personal, but now there seems to be no refuge for him anywhere. The puritanical party disapproves of his relationship with Nuccia, a tender, quizzical, deeply intelligent editor who is separated but not divorced, while Walter is worried about his health, haunted by his past, and increasingly troubled by knotty questions of both theory and practice. Walter is, always has been, and always will be a Communist, he has no doubt about that, and yet something has changed. Communism no longer explains the life he is living, the future he hoped for, or, perhaps most troubling of all, the life he has led.

    It tells the story of San Quentin death-row inmate Darrell Standing, who escapes the horror of prison life —and long stretches in a straitjacket— by withdrawing into vivid dreams of past lives, including incarnations as a French nobleman and an Englishman in medieval Korea. Based on the life and imprisonment of Jack London’s friend Ed Morrell, this is one of the author’s most complex and original works.

    An investigation ensues and as each of the victim's neighbors is questioned, the reader is offered an all-access pass into the most colorful neighborhood in contemporary Rome. Each character takes his or her turn center-stage, giving evidence, recounting his or her story the dramas of racial identity, the anxieties and misunderstandings born of a life spent on society's margins, the daily humiliations provoked by mainstream culture's fears and indifference, preconceptions and insensitivity. What emerges is a moving story that is common to us all, whether we live in Italy or Los Angeles. This novel is animated by a style that is as colorful as the neighborhood it describes and is characterized by seemingly effortless equipoise that borrows from the cinematic tradition of the Commedia all Italiana as exemplified by directors such as Federico Fellini. At the heart of this bittersweet comedy told with affection and sensitivity is a social reality that we often tend to ignore and an anthropological analysis, refreshing in its generosity, that cannot fail to fascinate.

    Mazzucco weaves her own family history into a great American novel of the immigrant experience. A sweeping tale of discovery, love, and loss, Vita is a passionate blend of biography and autobiography, of fantasy and fiction.In April 1903, the steamship Republic spills more than two thousand immigrants onto Ellis Island. Among them are Diamante, age twelve, and Vita, nine, sent by their poor families in southern Italy to make their way in America. Amid the chaos and splendor of New York, the misery and criminality of Little Italy, and the shady tenants of Vita's father's decrepit Prince Street boarding house, Diamante and Vita struggle to survive, to create a new life, and to become American. From journeys west in search of work to journeys back to Italy in search of their roots, to Vita's son's encounter with his mother's home town while serving as an army captain in World War II, Vita touches on every aspect of the heartbreaking and inspiring immigrant story.The award-winning Italian author Melania G. Mazzucco weaves her own family history into a great American novel of the immigrant experience. A sweeping tale of discovery, love, and loss, Vita is a passionate blend of biography and autobiography, of fantasy and fiction.

    Henry's tyrannical, brick laying father, Nick, though weak and alcoholic, can still strike fear into the hearts of his sons. His mother, though ill and devout to her Catholicism, still has the power to comfort and confuse her children. This is typical of Fante's novels, it's autobiographical, and brimming with love, death, violence and religion. Writing with great passion Fante powerfully hits home the damage family can wreck upon us all.

    Out of the last hours of Virgil's life and the final stirrings of his consciousness, the Austrian writer Hermann Broch fashioned one of the great works of twentieth-century modernism, a book that embraces an entire world and renders it with an immediacy that is at once sensual and profound.Begun while Broch was imprisoned in a German concentration camp, The Death of Virgil is part historical novel and part prose poem - and always an intensely musical and immensely evocative meditation on the relation between life and death, the ancient and the modern.

    As the city of Turin suffers a twenty-day "phenomenon of collective psychosis" culminating in nightly massacres that hundreds of witnesses cannot explain, the Library is shut down and erased from history. That is, until a lonely salaryman decides to investigate these mysterious events, which the citizenry of Turin fear to mention. Inevitably drawn into the city’s occult netherworld, he unearths the stuff of modern nightmares: what’s shared can never be unshared.An allegory inspired by the grisly neo-fascist campaigns of its day, The Twenty Days of Turin has enjoyed a fervent cult following in Italy for forty years. Now, in a fretful new age of "lone-wolf" terrorism fueled by social media, we can find uncanny resonances in Giorgio De Maria’s vision of mass fear: a mute, palpitating dread that seeps into every moment of daily existence. With its stunning anticipation of the Internet—and the apocalyptic repercussions of oversharing—this bleak, prescient story is more disturbingly pertinent than ever.Brilliantly translated into English for the first time by Ramon Glazov, The Twenty Days of Turin establishes De Maria’s place among the literary ranks of Italo Calvino and beside classic horror masters such as Edgar Allan Poe and H. P. Lovecraft. Hauntingly imaginative, with visceral prose that chills to the marrow, the novel is an eerily clairvoyant magnum opus, long overdue but ever timely.

    She could neither read nor write, and she was the reviled victim in a public rape trial, rejected by her father, and later abandoned by her husband. Nevertheless, she was one of the first women in modern times to uphold through her work and deeds the right of women to pursue careers compatible with their talents and on an equal footing with men. This edition features a new introduction by the celebrated critic and writer Susan Sontag. Anna Banti, the pen name of Lucia Lopresti, was born in Florence in 1895. Trained as an art historian, she turned to novels, stories, and autobiographical prose in the 1930s. Artemisia, her second novel, published in 1947, is the most acclaimed of the sixteen works of fiction she published during her long life, and is considered a classic of twentieth century Italian literature. Her last, harrowingly confessional novel, A Piercing Cry (Un grido lacerante), appeared in 1981. Banti also wrote art criticism and monographs on painters (Lorenzo Lotto, Fra Angelico, Velázquez, Monet), literary criticism and film reviews, and translated novels by Thackery, Colette, Alain Fournier, and Virginia Woolf. She died in Ronchi di Massa (Tuscanny) in 1985.

    The renowned classicist, translator, and critic William Arrowsmith translated all three volumes."Virtually incomparable. . . . Arrowsmith has quite literally distilled this poetry's essence in order to recompose it with all of its colors, scents, and exquisitely understated potency intact." — Rebecca West

    This satirical novel tells the story of the surgical transformation of a dog into a man, and is an obvious criticism of Soviet society, especially the new rich that arose after the Bolshevik revolution.

    The tales are bawdy and irreverent but also tender and whimsical, acute in psychological characterization and encyclopedic in description. They are also evocative of marvelous worlds of fairy-tale unreality as well as of the everyday rituals of life in seventeenth-century Naples. Yet because the original is written in the nonstandard Neopolitan dialect of Italian—and was last translated fully into English in 1932—this important piece of Baroque literature has long been inaccessible to both the general public and most fairy-tale scholars.Giambattista Basile’s “The Tale of Tales, or Entertainment for Little Ones” is a modern translation that preserves the distinctive character of Basile’s original. Working directly from the original Neopolitan version, translator Nancy L. Canepa takes pains to maintain the idiosyncratic tone of The Tale of Tales as well as the work’s unpredictable structure. This edition keeps the repetition, experimental syntax, and inventive metaphors of the original version intact, bringing Basile’s words directly to twenty-first-century readers for the first time. This volume is also fully annotated, so as to elucidate any unfamiliar cultural references alongside the text. Giambattista Basile’s “The Tale of Tales, or Entertainment for Little Ones” is also lushly illustrated and includes a foreword, an introduction, an illustrator’s note, and a complete bibliography.The publication of The Tale of Tales marked not only a culmination of the interest in the popular culture and folk traditions of the Renaissance period but also the beginning of the era of the artful and sophisticated “authored” fairy tale that inspired and influenced later writers like Charles Perrault and the Brothers Grimm. Giambattista Basile’s “The Tale of Tales, or Entertainment for Little Ones” offers an excellent point of departure for reflection about what constitutes Italian culture, as well as for discussion of the relevance that forms of early modern culture like fairy tales still hold for us today. This volume is vital reading for fairy-tale scholars and anyone interested in cultural history.

    In a secluded woodland castle an old General prepares to receive a rare visitor, a man who was once his closest friend but who he has not seen in forty-one years. Over the ensuing hours host and guest will fight a duel of words and silences, accusations and evasions. They will exhume the memory of their friendship and that of the General’s beautiful, long-dead wife. And they will return to the time the three of them last sat together following a hunt in the nearby forest--a hunt in which no game was taken but during which something was lost forever. Embers is a classic of modern European literature, a work whose poignant evocation of the past also seems like a prophetic glimpse into the moral abyss of the present

    Just like a "real boy." Until he learns that to become truly real, he must open his heart and think of others.

    Three long stories that draw the reader into the lives of three women, all past their first youth, all facing unexpected crises.

    Now local enterprise of a different sort flourishes: drug dealers and prostitutes of every flavour. But their discreet trade is upset when two employees of the Splendour Refuse Collection Company discover the body of engineer Silvio Luparello, one of the local movers and shakers, apparently deceased in flagrante at the Pasture. The coroner's verdict is death from natural causes - refreshingly unusual for Sicily. But Inspector Salvo Montalbano, as honest as he is streetwise and as scathing to fools and villains as he is compassionate to their victims, is not ready to close the case - even though he's being pressured by Vigàta's police chief, judge, and bishop. Picking his way through a labyrinth of high-comedy corruption, delicious meals, vendetta firepower, and carefully planted false clues, Montalbano can be relied on, whatever the cost, to get to the heart of the matter.The Shape of Water is followed by the second in this phenomenal series, The Terracotta Dog.