This is his twelfth bestselling book of fiction. Fifteen-year-old Margherita lives with her eccentric family on the outskirts of town, a semi-urban wilderness peopled by gypsies, illegal immigrants, and no end of bizarre characters: a reassuring and fertile playground for an imaginative little girl like Margherita. But one day, a gigantic, black cube shows up next door. Her new neighbors have arrived, and they’re destined to ruin everything.

    Roux, the narrator, is in pursuit of a mysterious friend named Xavier. His search, which develops into a quest, takes him from town to town across the subcontinent.

    “Over there!” he cries to his brother, Carlo, sunning beside him. “Over there!”So begins the adventure that will tear a hole in Pietro’s life. For while he and his brother struggle to save two drowning swimmers, a tragedy is unfolding down the road at his summer cottage. Instead of coming home to a hero’s welcome, Pietro is greeted by the flashing lights of an ambulance, the wide-eyed stare of his young daughter, Claudia, and the terrible news that his fiancée, Lara, is dead.Life must go on. Or does it? Pietro, a true iconoclast, has to find his own way. When he drops Claudia off for the first day of school, he decides to wait outside for her all day, and then every day. To protect her. To protect himself. To wait for the heavy fist of grief to strike. But as the days and weeks go by, the small parking lot in front of the school becomes his refuge from the world as well as the place where family and colleagues come to relieve their own suffering—among them, the woman he rescued from the waves. And Pietro plunges deeper into the depths of his life before seeing the simple truth before his eyes.Sandro Veronesi makes art of every detail, creating a mosaic of humor, hope,profound insight, and emotional resonance. Quiet Chaos is an unprecedented portrayal of a life set adrift by death.

    Her life has been characterized by honor and fierce passion, and above all by an abiding search for perfect love that has spanned much of the twentieth century. Ever in the background of this remarkable woman's story is the stunning Sardinian landscape, the deep blues of the Mediterranean, the rugged mountains of the Sardinian back-country dotted with charming villages lost in time.With warmth, great humor, and deep insight Milena Agus writes about the customs and the beauty of her native Sardinia, about love, family, immigration, war, and peace. From the Land of the Moon is the moving English debut of one of Italy s most important new literary talents.

    A great classical scholar and patriot, he explored metaphysical loneliness in entirely original ways. Though he died young, his influence was enormous, and it is no exaggeration to say that all modern poetry, not only in Italian, derives in some way from his work.Leopardi's poetry is notoriously difficult to translate, and he has been less well known to English-language readers than his central significance for his own culture might suggest. Now Jonathan Galassi, whose translations of Eugenio Montale have been widely acclaimed, has produced a strong, fresh, direct version of this great poet that offers English-language readers a new approach to Leopardi. Galassi has contributed an informative introduction and notes that provide a sense of Leopardi's sources and ideas. This is an essential book for anyone who wants to understand the roots of modern lyric poetry.

    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.

    The thirty-one poems in the first of his major writings are linked by a lyrical prose narrative celebrating and debating the subject of love. Composed upon Dante's meeting with Beatrice and the "Lord of Love," it is a love story set to the task of confirming the "new life" inspired by this meeting. With a critical introduction and explanatory notes, this is a new translation of a supreme work which has been read variously as biography, religious allegory, and a meditation on poetry itself.

    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.

    In this period the Italian Communist Party is very strong, but the Second World War and fascism are still vividly remembered. Boscaccio has a communist mayor named Peppone. He wants to realise the communist ideals, and the Roman Catholic priest Don Camillo is desperately trying to prevent this. But despite their different views these men can count on each other in the fight against social injustice and abuses.

    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 ones 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 and grace of a survivor and the spare, wry, and poetically resonant style her readers have come to recognize.

    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 Naples, Lucky Luciano fixes horse races and launches the global heroin trade. And in Bologna, a bartender searches for true love and his missing communist father.Set during the height of the Cold War - with the world divided into East and West - 54 features Italian partisans, KGB agents, Parisian lowlifes, and cameos by David Niven, Marshal Tito, and Grace Kelly. Wu Ming brings us a cinematic romp that is by turns edgy social satire and modern comic send up.

    When he discovers, to his utter amazement, that their ill-treated servant is in fact a maiden iguana, and then proceeds to fall in love with her, the story of Aleardo, Estralitta and don Ilario becomes universal -- the fantastic merges with the commonplace until a resonant reality emerges with subtle distillation. From first page to last, the reader is given a tale of tragic love and delusion that ranks among the most affecting in contemporary literature. The Iguana has the force of "The Tempest," and is written with a grace comparable in every way to the works of Izak Dinesen and Djuna Barnes. Little wonder, then, that this novel was called by the noted critic Pietro Citati, "one of the very few books destined to redeem the honor of Italian literature since the Second World War." First published in Italian in 1965, where it was awarded the Fiuggi Prize, this masterpiece is by one of the original Italian "magic realists."

    A face-off between a man and a boy. The same blood runs through their veins. One, Daniele Mallarico, is a successful illustrator at the peak of his career. The other, Mario, is his four-year-old grandson who has barely learned to talk but has a few tricks up his loose-fitting sleeves all the same. The older combatant has lived for years in almost complete solitude. The younger one has been dumped with a grandfather he barely knows for 72 hours. Starnone’s sharp novella unfolds within the four walls (and a balcony!) of the apartment where the grandfather grew up, now the home of his daughter and her family, where the rage of an aging man meets optimism incarnate in the shape of a four-year-old child. Lurking, ever present in the conflict, is the memory of Naples, a wily, violent, and passionate city where the old man spent his youth and whose influence is not easily shaken.

    "A perfect work like no other. (Calasso) has re-created . . . the morning of our world."--Gore Vidal. 15 engravings.