Vari Autori

If the tales of the first volume (see review on this site) have a fairy-tale quality, transporting us into a world populated by spirits and magical inventions, here the novellas have a realistic cast; the reading is less enthralling, but we derive from it a portrayal of Abbasid society, of the power of the caliph and his emirs, of court intrigues, and of the resigned obedience of the subjects. In

The daily newspaper *La Stampa* offered alongside the paper a series of noir short stories: Macchiavelli, De Silva, Fois, Lucarelli, Manzini, Carlotto, Simi, Robecchi, Malvaldi, Fantini and Pariani, Cassar Scalia, Pastor, Recami, de Giovanni, De Cataldo, and Savatteri. It was an excellent initiative: it provided a survey of the principal Italian writers of the genre. What emerges is that Italian n

*The Thousand and One Nights* is an Arabic manuscript likely dating back to the Abbasid Caliphate, between 750 and 900 AD: the setting is the fabulous empire of Baghdad, stretching from North Africa across the Arabian Peninsula to Central Asia and India. Its discovery is credited to Antoine Galland in the early eighteenth century, and from that moment the text spread throughout the West, sparking

The publisher Sellerio has launched a series of crime anthologies centered on specific themes: it began with *Calcio in giallo* and now tackles the subject of travel. It is an excellent idea, but Gimenez-Bartlett, Malvaldi, Manzini, Recami, Rebecchi, and Savatteri ought to have applied themselves, rather than simply “dashing it off,” striving instead to cultivate the link between the assigned the

As the editors, Alda and Elena Croce, have noted, Southern Italian literature is strongly influenced by the great French authors, such as Zola, Flaubert, and Maupassant: heedful, therefore, of social conditions, yet marked by a peculiar accent—a blend of ironic, fairy-tale fabulation and melodramatic tones. The survey is limited to 10 writers, some of them well known, such as Capuana, Serao, and

Under the title *La Rinascita*, in June 1944 the first issue of the Communist Party’s monthly journal was published. Italy is not yet free; the partisan struggle is underway, and yet from its very first issue the journal devotes several pages to literature. There are poetic works (by Umberto Saba and Salvatore Quasimodo), texts by foreign authors, and contributions from Italian writers as well,

The book brings together 29 short stories, an anthology that includes famous writers such as Bassani, Buzzati, Gadda, Moravia, Pasolini, Pratolini, Cassola, and others; but also lesser-known authors, nonetheless representative of our country's literature. It is impossible to account for every story—many, in fact, not particularly successful—so I shall dwell only on a few. They share a common tra

The book brings together football-themed short stories by various noir writers, some well-known—such as Aykol, Giménez-Bartlett, Malvaldi, and Manzini—others less familiar: Gian Mauro Costa, Francesco Recami, and Gaetano Savatteri. The plots, characters, and writing styles vary, yet a common thread emerges: football, even at the amateur level or played in the minor leagues, is invariably a sordid