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兀氐賵丕鬲 丕賱賲爻丕亍
鈥� 芦賳賵乇 賲鬲賵賴噩 賮賷 丕賱兀丿亘 丕賱廿賷胤丕賱賷 丕賱丨丿賷孬... 賵丕丨丿丞 賲賳 兀賰孬乇 賰購鬲賻賾丕亘 廿賷胤丕賱賷丕 鬲賲賷購賾夭賸丕禄
- 芦賳賷賵賷賵乇賰 乇賮賷賵 兀購賮 亘賵賰爻禄
鈥� 芦賵丕丨丿丞 賲賳 兀賴賲 丕賱賰購鬲賻賾丕亘 賮賷 廿賷胤丕賱賷丕 丕賱賷賵賲禄
- 芦賳賷賵賷賵乇賰 鬲丕賷賲夭禄
亘賱睾鬲 芦廿賱爻丕禄 丕賱爻丕亘毓丞 賵丕賱毓卮乇賷賳 賲賳 丕賱毓賲乇 賵賲丕 夭丕賱鬲 毓夭亘丕亍貙 賵賲丕 賴匕丕 廿賱丕 兀丨丿 兀爻亘丕亘 丕賱卮賰丕賵賶 丕賱丿丕卅賲丞 賵丕賱賲鬲毓丿丿丞 賱賵丕賱丿鬲賴丕. 賱賰賳 孬乇孬乇丞 丕賱兀賲 賱賷爻鬲 丕爻鬲孬賳丕亍 賮賷 丕賱亘賱丿丞 丕賱廿賷胤丕賱賷丞 丕賱鬲賯賱賷丿賷丞 丕賱鬲賷 鬲毓賷卮 賮賷賴丕 芦廿賱爻丕禄 賵毓丕卅賱鬲賴丕貙 賵丕賱鬲賷 鬲丿賵乇 丕賱丨賷丕丞 賮賷賴丕 丨賵賱 賲氐賳毓 賱賱賯賲丕卮 鬲賲鬲賱賰賴 毓丕卅賱丞 芦丿賷 賮乇丕賳鬲卮賷卮賷禄.
賮賷 爻乇丿 丕賯鬲氐丕丿賷 廿賱賶 兀賯氐賶 丨丿貙 賲噩乇丿 賲賳 兀賷 鬲賮爻賷乇 兀賵 鬲毓賱賷賯貙 賵賲亘賳賷 亘丕賱丿乇噩丞 丕賱兀賵賱賶 毓賱賶 丕賱丨賵丕乇貙 鬲毓乇囟 芦廿賱爻丕禄 賯氐丞 兀賮乇丕丿 賴匕賴 丕賱毓丕卅賱丞貙 賵氐賵賱賸丕 廿賱賶 丕賱丕亘賳 丕賱兀氐睾乇貙 丕賱匕賷 鬲賱鬲賯賷賴 爻乇賸賾丕 賮賷 丕賱賲丿賷賳丞 丕賱賲噩丕賵乇丞 賲乇鬲賷賳 賮賷 丕賱兀爻亘賵毓. 毓賱賶 賵賯毓 丕賱孬乇孬乇丞 丕賱賲鬲賵丕氐賱丞 賮賷 丕賱亘賱丿丞貙 賷賯賵賱 賰丕鬲亘 廿賷胤丕賱賷丕 丕賱兀卮賴乇 芦廿賷鬲丕賱賵 賰丕賱賮賷賳賵禄: 芦鬲丨賰賷 賱賳丕 芦賳鬲丕賱賷丕禄 賯氐丞 氐賲鬲賷賳 賷鬲丿丕禺賱丕賳貙 賷亘丨孬丕賳 毓賳 丕賱鬲賰丕賲賱貙 孬賲 賷鬲氐丕丿賲丕賳禄.
賵賷鬲丕亘毓 芦賰丕賱賮賷賳賵禄 毓賳 乇賵丕賷丞 芦噩賷賳夭亘賵乇噩禄 丕賱卮賴賷乇丞: 芦廿賳 芦兀氐賵丕鬲 丕賱賲爻丕亍禄 賴賷 賯氐丞 兀賳丕爻 賷丨丕賵賱賵賳 丿賮賳 兀賮賰丕乇賴賲貙 賵鬲丨丿賷丿 賴賵賷鬲賴賲 賮賯胤 賲賳 禺賱丕賱 丕賱兀賮毓丕賱 丕賱鬲賷 賷賯賵賲賵賳 亘賴丕 賵丕賱賰賱賲丕鬲 丕賱鬲賷 賷賯賵賱賵賳賴丕禄.
乇賵丕賷丞 賲賲鬲毓丞 賵賲丐孬乇丞貙 鬲鬲賲賷夭 亘賵丕賯毓賷鬲賴丕 丕賱賮毓丕賱丞 賵爻禺乇賷鬲賴丕 丕賱賲亘胤賳丞.
- 芦賳賷賵賷賵乇賰 乇賮賷賵 兀購賮 亘賵賰爻禄
鈥� 芦賵丕丨丿丞 賲賳 兀賴賲 丕賱賰購鬲賻賾丕亘 賮賷 廿賷胤丕賱賷丕 丕賱賷賵賲禄
- 芦賳賷賵賷賵乇賰 鬲丕賷賲夭禄
亘賱睾鬲 芦廿賱爻丕禄 丕賱爻丕亘毓丞 賵丕賱毓卮乇賷賳 賲賳 丕賱毓賲乇 賵賲丕 夭丕賱鬲 毓夭亘丕亍貙 賵賲丕 賴匕丕 廿賱丕 兀丨丿 兀爻亘丕亘 丕賱卮賰丕賵賶 丕賱丿丕卅賲丞 賵丕賱賲鬲毓丿丿丞 賱賵丕賱丿鬲賴丕. 賱賰賳 孬乇孬乇丞 丕賱兀賲 賱賷爻鬲 丕爻鬲孬賳丕亍 賮賷 丕賱亘賱丿丞 丕賱廿賷胤丕賱賷丞 丕賱鬲賯賱賷丿賷丞 丕賱鬲賷 鬲毓賷卮 賮賷賴丕 芦廿賱爻丕禄 賵毓丕卅賱鬲賴丕貙 賵丕賱鬲賷 鬲丿賵乇 丕賱丨賷丕丞 賮賷賴丕 丨賵賱 賲氐賳毓 賱賱賯賲丕卮 鬲賲鬲賱賰賴 毓丕卅賱丞 芦丿賷 賮乇丕賳鬲卮賷卮賷禄.
賮賷 爻乇丿 丕賯鬲氐丕丿賷 廿賱賶 兀賯氐賶 丨丿貙 賲噩乇丿 賲賳 兀賷 鬲賮爻賷乇 兀賵 鬲毓賱賷賯貙 賵賲亘賳賷 亘丕賱丿乇噩丞 丕賱兀賵賱賶 毓賱賶 丕賱丨賵丕乇貙 鬲毓乇囟 芦廿賱爻丕禄 賯氐丞 兀賮乇丕丿 賴匕賴 丕賱毓丕卅賱丞貙 賵氐賵賱賸丕 廿賱賶 丕賱丕亘賳 丕賱兀氐睾乇貙 丕賱匕賷 鬲賱鬲賯賷賴 爻乇賸賾丕 賮賷 丕賱賲丿賷賳丞 丕賱賲噩丕賵乇丞 賲乇鬲賷賳 賮賷 丕賱兀爻亘賵毓. 毓賱賶 賵賯毓 丕賱孬乇孬乇丞 丕賱賲鬲賵丕氐賱丞 賮賷 丕賱亘賱丿丞貙 賷賯賵賱 賰丕鬲亘 廿賷胤丕賱賷丕 丕賱兀卮賴乇 芦廿賷鬲丕賱賵 賰丕賱賮賷賳賵禄: 芦鬲丨賰賷 賱賳丕 芦賳鬲丕賱賷丕禄 賯氐丞 氐賲鬲賷賳 賷鬲丿丕禺賱丕賳貙 賷亘丨孬丕賳 毓賳 丕賱鬲賰丕賲賱貙 孬賲 賷鬲氐丕丿賲丕賳禄.
賵賷鬲丕亘毓 芦賰丕賱賮賷賳賵禄 毓賳 乇賵丕賷丞 芦噩賷賳夭亘賵乇噩禄 丕賱卮賴賷乇丞: 芦廿賳 芦兀氐賵丕鬲 丕賱賲爻丕亍禄 賴賷 賯氐丞 兀賳丕爻 賷丨丕賵賱賵賳 丿賮賳 兀賮賰丕乇賴賲貙 賵鬲丨丿賷丿 賴賵賷鬲賴賲 賮賯胤 賲賳 禺賱丕賱 丕賱兀賮毓丕賱 丕賱鬲賷 賷賯賵賲賵賳 亘賴丕 賵丕賱賰賱賲丕鬲 丕賱鬲賷 賷賯賵賱賵賳賴丕禄.
乇賵丕賷丞 賲賲鬲毓丞 賵賲丐孬乇丞貙 鬲鬲賲賷夭 亘賵丕賯毓賷鬲賴丕 丕賱賮毓丕賱丞 賵爻禺乇賷鬲賴丕 丕賱賲亘胤賳丞.
224 pages, Paperback
First published January 1, 1952
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5860 people want to read
About the author
Natalia Ginzburg
122听books1,439听followersNatalia Ginzburg (n茅e Levi) was an Italian author whose work explored family relationships, politics during and after the Fascist years and World War II, and philosophy. She wrote novels, short stories and essays, for which she received the Strega Prize and Bagutta Prize. Most of her works were also translated into English and published in the United Kingdom and United States. An activist, for a time in the 1930s she belonged to the Italian Communist Party. In 1983 she was elected to Parliament from Rome as an Independent.
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September 16, 2024
'Why is everything ruined, everything?'
I鈥檝e always enjoyed metaphors of time as a train, speeding forward along the tracks into the future. People get on, people disembark and鈥攊f we are going to get allegorical about it鈥攖he various stations are sort of like the events in life that become a hinge between Before and After. 鈥�Why has everything been ruined,鈥� various characters ask almost as a refrain in Natalia Ginzberg鈥檚 1961 novel Voices in the Evening, a post-war story set in an Italian town straining with the heavy burdens and debris of the past as it tries to reroute towards the horizons of the future. The novel follows Elsa as she navigates the local society and her mother鈥檚 own gossip-ridden narratives, but is also an examination of the local factory owning De Francisci family and how their lives are interwoven with the history of the town to create an abstract portrait of Italian society fractured by the weight of fascism and war. Translated by , Ginzberg writes with lucid precision to create this striking collage of lives scrutinizing how both internal and external forces have connected or isolated them. Here we see the truths on how 鈥�happiness,鈥� as one of the brothers states, 鈥�is like water; one only realizes it when it has run away,鈥� as Ginzberg brilliantly unburies the ineffable feelings these characters try to hide deep within themselves.
鈥�There are so many sad things in life. Why read novels? Is not life a novel?鈥�
There is always that question whether the You of today is someone the You of your childhood would have been proud of. I mean, beyond that kid me would definitely tear the aux cord away from me now, it has always seemed like a disingenuous question that discounts the myriad of ways our priorities, interests and avenues of action are constantly reconfigured by the world around us as well as our own internal conversations with ourselves. Unless you grew up to become an astronaut, can child-You really understand the way life is about compromising with the hand you are dealt and making concessions to be able to fight another day? This notion is at the heart of Voices in the Evening, following a family through an amazingly patchworked narrative鈥攑resumably recounted to us by Elsa鈥攖hat juxtaposes the idealisms and eagerness of their youth with the wreckage of the past strewn about in their present. We often first encounter the character through their aftermath before learning their story, like a ghost of the past lingering translucently over the rubble鈥擭ebbia, for instance, is first introduced through the details of his murder during the war much before we see the happiness of his youth as a central figure in friendship (and one instance of failed lover) to most of the De Francisci family.
Perhaps most interesting is Purillo, as his story most dredges up the uncomfortable aftermath of the war as people must pick up the pieces and reconnect as a community with the knowledge that some of their neighbors were fascists and others were resistors (like the sister Raffaella who holed up in the mountains and was a communist). This is an intriguing examination considering Ginzberg鈥檚 own husband was executed by the fascists, as here we first learn of Purillo for his role as a fascist before discovering a very different impression of him as he appears as a warm and supportive figure in the lives of his family members. Purillo was an adopted son to Balotta (his nickname meaning 鈥榣ittle ball鈥� for his stout features), the socialist patriach of the De Francisci family and factory owner. Despite having reservations over Purillo, he does inevitably give him control of the factory. There is an uncomfortable idea never voiced but always hanging over the narrative as we see Purillo, admittedly a fascist, having kept the town afloat during the war because his party alignment allowed the factory to continue running and also gave him information that saved Balotta鈥檚 life. What makes Voices in the Evening so compelling is the messiness of lives as well as the moral complexities of characters.
鈥�How a place can get one down!鈥�
In the present, the baggage of the past is a heavy burden to carry. But the past is also only accessible through memory, often tainted in nostalgia that delivers an inaccurate replication of reality and spurs a homesickness for a time and place that only half existed, made worse by the chasm wrought by the destructive recent past of fascism and war that has completely upended society. Character鈥檚 like Elsa鈥檚 mother seem to resign themselves to golden age nostalgia and exist in a present constructed more on gossip than hard truths (amusingly she often refers to Elsa鈥檚 friends as the 鈥�little Bottiglia girls鈥� despite them all now being in their early 30s seemingly as an indication she can鈥檛 let go of the past). But for others, the past is more like a haunting, such as it is for the youngest De Francisci brother Tommasino with whom Elsa has been carrying on a clandestine relationship:
Even if he were to escape from it he knows it will continue to haunt him. While modern novels seem to often hit on themes of generational trauma, I quite enjoyed the way Ginzberg explored the way trauma can send shockwaves through a singular generation. Here the failings of life and love have a traumatic resonance on those around them, such as Vincenzino鈥檚 failed marriage reading like a warning to the younger people around him. It is another example of the ways an event reshapes society and culture, with the fallout of these lives shattering faith in even things like the institution of marriage. 鈥�I have taken to driving my thoughts underground,鈥� Tommasino says about trying to navigate a society that still attempts to uphold the norms of the past in a present currently in shambles, and Ginzberg makes us consider the cost of silence weighed against the standards of society.
鈥�Ginzburg did not overdramatise the war in her writing, but sought to integrate it into daily life,鈥� writes in his introduction, 鈥�it seemed part of normality until it came close and then it tore the lives of her characters asunder.鈥� This is a wonderfully psychological novel where Ginzberg asks us to consider the ways a communal past can oppress the present as we struggle to find our bearings to move forward. In the forward she tells us the characters and places are fiction but adds 鈥�I am sorry to say this having loved them as though they were real,鈥� and one of her greatest strengths in this novel is presenting these characters as so lifelike upon the page that by the end of the novel the reader, too, will have known them as if they were real. Voices in the Evening is a small but heavy novel, asking us if we can ever escape the past and forcing us to consider the concessions we make in life in order to keep living it. A powerful book.
4.5/5
鈥�We have brought it to the light and it is dead, and we shall never recover it any more.鈥�
I鈥檝e always enjoyed metaphors of time as a train, speeding forward along the tracks into the future. People get on, people disembark and鈥攊f we are going to get allegorical about it鈥攖he various stations are sort of like the events in life that become a hinge between Before and After. 鈥�Why has everything been ruined,鈥� various characters ask almost as a refrain in Natalia Ginzberg鈥檚 1961 novel Voices in the Evening, a post-war story set in an Italian town straining with the heavy burdens and debris of the past as it tries to reroute towards the horizons of the future. The novel follows Elsa as she navigates the local society and her mother鈥檚 own gossip-ridden narratives, but is also an examination of the local factory owning De Francisci family and how their lives are interwoven with the history of the town to create an abstract portrait of Italian society fractured by the weight of fascism and war. Translated by , Ginzberg writes with lucid precision to create this striking collage of lives scrutinizing how both internal and external forces have connected or isolated them. Here we see the truths on how 鈥�happiness,鈥� as one of the brothers states, 鈥�is like water; one only realizes it when it has run away,鈥� as Ginzberg brilliantly unburies the ineffable feelings these characters try to hide deep within themselves.
鈥�There are so many sad things in life. Why read novels? Is not life a novel?鈥�
There is always that question whether the You of today is someone the You of your childhood would have been proud of. I mean, beyond that kid me would definitely tear the aux cord away from me now, it has always seemed like a disingenuous question that discounts the myriad of ways our priorities, interests and avenues of action are constantly reconfigured by the world around us as well as our own internal conversations with ourselves. Unless you grew up to become an astronaut, can child-You really understand the way life is about compromising with the hand you are dealt and making concessions to be able to fight another day? This notion is at the heart of Voices in the Evening, following a family through an amazingly patchworked narrative鈥攑resumably recounted to us by Elsa鈥攖hat juxtaposes the idealisms and eagerness of their youth with the wreckage of the past strewn about in their present. We often first encounter the character through their aftermath before learning their story, like a ghost of the past lingering translucently over the rubble鈥擭ebbia, for instance, is first introduced through the details of his murder during the war much before we see the happiness of his youth as a central figure in friendship (and one instance of failed lover) to most of the De Francisci family.
Perhaps most interesting is Purillo, as his story most dredges up the uncomfortable aftermath of the war as people must pick up the pieces and reconnect as a community with the knowledge that some of their neighbors were fascists and others were resistors (like the sister Raffaella who holed up in the mountains and was a communist). This is an intriguing examination considering Ginzberg鈥檚 own husband was executed by the fascists, as here we first learn of Purillo for his role as a fascist before discovering a very different impression of him as he appears as a warm and supportive figure in the lives of his family members. Purillo was an adopted son to Balotta (his nickname meaning 鈥榣ittle ball鈥� for his stout features), the socialist patriach of the De Francisci family and factory owner. Despite having reservations over Purillo, he does inevitably give him control of the factory. There is an uncomfortable idea never voiced but always hanging over the narrative as we see Purillo, admittedly a fascist, having kept the town afloat during the war because his party alignment allowed the factory to continue running and also gave him information that saved Balotta鈥檚 life. What makes Voices in the Evening so compelling is the messiness of lives as well as the moral complexities of characters.
鈥�How a place can get one down!鈥�
In the present, the baggage of the past is a heavy burden to carry. But the past is also only accessible through memory, often tainted in nostalgia that delivers an inaccurate replication of reality and spurs a homesickness for a time and place that only half existed, made worse by the chasm wrought by the destructive recent past of fascism and war that has completely upended society. Character鈥檚 like Elsa鈥檚 mother seem to resign themselves to golden age nostalgia and exist in a present constructed more on gossip than hard truths (amusingly she often refers to Elsa鈥檚 friends as the 鈥�little Bottiglia girls鈥� despite them all now being in their early 30s seemingly as an indication she can鈥檛 let go of the past). But for others, the past is more like a haunting, such as it is for the youngest De Francisci brother Tommasino with whom Elsa has been carrying on a clandestine relationship:
鈥�It has a weight of lead, with all its dead. This village of ours, it just get me down; it is so small, a handful of houses. I can never free myself from it, I cannot forget it.鈥�
Even if he were to escape from it he knows it will continue to haunt him. While modern novels seem to often hit on themes of generational trauma, I quite enjoyed the way Ginzberg explored the way trauma can send shockwaves through a singular generation. Here the failings of life and love have a traumatic resonance on those around them, such as Vincenzino鈥檚 failed marriage reading like a warning to the younger people around him. It is another example of the ways an event reshapes society and culture, with the fallout of these lives shattering faith in even things like the institution of marriage. 鈥�I have taken to driving my thoughts underground,鈥� Tommasino says about trying to navigate a society that still attempts to uphold the norms of the past in a present currently in shambles, and Ginzberg makes us consider the cost of silence weighed against the standards of society.
鈥�Ginzburg did not overdramatise the war in her writing, but sought to integrate it into daily life,鈥� writes in his introduction, 鈥�it seemed part of normality until it came close and then it tore the lives of her characters asunder.鈥� This is a wonderfully psychological novel where Ginzberg asks us to consider the ways a communal past can oppress the present as we struggle to find our bearings to move forward. In the forward she tells us the characters and places are fiction but adds 鈥�I am sorry to say this having loved them as though they were real,鈥� and one of her greatest strengths in this novel is presenting these characters as so lifelike upon the page that by the end of the novel the reader, too, will have known them as if they were real. Voices in the Evening is a small but heavy novel, asking us if we can ever escape the past and forcing us to consider the concessions we make in life in order to keep living it. A powerful book.
4.5/5
鈥�We have brought it to the light and it is dead, and we shall never recover it any more.鈥�
July 11, 2020
Three recent reviews and stories about Natalia Ginzburg:
Vivian Gornick on the Solace and Revelation of Natalia Ginzburg
This Italian author is famous for the bluntness of her writing. People spare no punches. The patriarch owns a paper factory in a small town in Italy and thus 鈥渙wns鈥� the town. As his children grow up and marry they live in the mansions on the hills overlooking the town. The patriarch tells everyone his sister is a half-wit; his brother is a ninny; his sons are not worth a fig. Even his adopted son, whom he chooses to run the factory, when he speaks to him in front of everyone in the factory he says 鈥淵ou, Purillo, are distasteful to me. I cannot bear you.鈥�
To everyone else鈥檚 disgust the adopted son sides with the fascists during the war. But his 鈥渟mart politics鈥� probably saved the factory and even his adoptive parent lives. He was able to spirit the mother and father away one night when he learned their house would be ransacked and his adopted parents would probably have been killed. He put them in hiding in a nearby small town for the rest of the war.
Among the numerous sons and daughters of the founding family, and some relatives and close family friends in the town, there鈥檚 a long string of bad marriages. Marriages of convenience where neither man nor woman loved the other. One man may be a morphine addict. There鈥檚 a gay man who marries and spends little time with his wife compared to his time with his male servants. There鈥檚 a son who brings a German- and French-speaking woman to town who refuses to learn enough Italian to even order her maids around. There is much faithlessness by men and women.
One son dies in car accident. The mother laments two children lost to her through emigration: a son in Venezuela and a daughter in South Africa. Maybe they are happy, but does it matter if they and the grandchildren are not seen again?
One son becomes infatuated with a visiting Brazilian woman. He becomes engaged. But then her family visits and he becomes physically sick when he realizes how terrible this is going to be. His father uses money to buy everyone off and call off the engagement. The son then quickly meets a local woman and 鈥淗e married her after a complicated and confused declaration of love, and he married her in haste for fear of changing his mind.鈥�
Most of the story is told retrospectively, after the war, thus the title, Voices of the Evening.
But there鈥檚 not a lot about the war. Mostly the story is about the lives and loves of this large family -- mostly the loves, mainly unrequited. In fact the main story loosely revolves around a young woman who loves a man her entire life, but he does not love her. They eventually have an affair but he鈥檚 emotionless. At one point they even become engaged, but he鈥檚 just going through the motions. He cruelly tells her in so many words: I鈥檝e never loved you; I can never love you; I can鈥檛 love any woman, but if you want to get married, I鈥檒l do it.
She says to him 鈥淭here is no change in your life 鈥ince the day I came to exist for you.鈥� She breaks it off. She鈥檚 27 when that happens, pretty old to ever get married by Italian standards at that time. Her mother is a constant complainer, a hypochondriac and a constant critic of her daughter. The daughter listens to her criticisms, accepts her complaints, offers sympathy. This has been and will be the daughter鈥檚 life.
There鈥檚 some good writing:
鈥淪ometimes I watch you go by at the garden gate, and you have a way of walking by which one can tell you are not happy.鈥�
I liked the story. While the main story is that of the young woman who breaks off the engagement (the story begins and ends with that woman) the rest comes off as a series of vignettes 鈥� almost like a soap opera. So I鈥檒l say a 3.5 rounded up to 4. I much preferred another book of hers I have read, The City and the House, a story told entirely in letters. In Voices, there鈥檚 a lot of local color of a fictitious small town, presumably in Piedmont near Turin where the author (1916-1991) grew up.
Photo of a town in the Piedmont
Photo of the author from
Vivian Gornick on the Solace and Revelation of Natalia Ginzburg
This Italian author is famous for the bluntness of her writing. People spare no punches. The patriarch owns a paper factory in a small town in Italy and thus 鈥渙wns鈥� the town. As his children grow up and marry they live in the mansions on the hills overlooking the town. The patriarch tells everyone his sister is a half-wit; his brother is a ninny; his sons are not worth a fig. Even his adopted son, whom he chooses to run the factory, when he speaks to him in front of everyone in the factory he says 鈥淵ou, Purillo, are distasteful to me. I cannot bear you.鈥�
To everyone else鈥檚 disgust the adopted son sides with the fascists during the war. But his 鈥渟mart politics鈥� probably saved the factory and even his adoptive parent lives. He was able to spirit the mother and father away one night when he learned their house would be ransacked and his adopted parents would probably have been killed. He put them in hiding in a nearby small town for the rest of the war.
Among the numerous sons and daughters of the founding family, and some relatives and close family friends in the town, there鈥檚 a long string of bad marriages. Marriages of convenience where neither man nor woman loved the other. One man may be a morphine addict. There鈥檚 a gay man who marries and spends little time with his wife compared to his time with his male servants. There鈥檚 a son who brings a German- and French-speaking woman to town who refuses to learn enough Italian to even order her maids around. There is much faithlessness by men and women.
One son dies in car accident. The mother laments two children lost to her through emigration: a son in Venezuela and a daughter in South Africa. Maybe they are happy, but does it matter if they and the grandchildren are not seen again?
One son becomes infatuated with a visiting Brazilian woman. He becomes engaged. But then her family visits and he becomes physically sick when he realizes how terrible this is going to be. His father uses money to buy everyone off and call off the engagement. The son then quickly meets a local woman and 鈥淗e married her after a complicated and confused declaration of love, and he married her in haste for fear of changing his mind.鈥�
Most of the story is told retrospectively, after the war, thus the title, Voices of the Evening.
But there鈥檚 not a lot about the war. Mostly the story is about the lives and loves of this large family -- mostly the loves, mainly unrequited. In fact the main story loosely revolves around a young woman who loves a man her entire life, but he does not love her. They eventually have an affair but he鈥檚 emotionless. At one point they even become engaged, but he鈥檚 just going through the motions. He cruelly tells her in so many words: I鈥檝e never loved you; I can never love you; I can鈥檛 love any woman, but if you want to get married, I鈥檒l do it.
She says to him 鈥淭here is no change in your life 鈥ince the day I came to exist for you.鈥� She breaks it off. She鈥檚 27 when that happens, pretty old to ever get married by Italian standards at that time. Her mother is a constant complainer, a hypochondriac and a constant critic of her daughter. The daughter listens to her criticisms, accepts her complaints, offers sympathy. This has been and will be the daughter鈥檚 life.
There鈥檚 some good writing:
鈥淪ometimes I watch you go by at the garden gate, and you have a way of walking by which one can tell you are not happy.鈥�
I liked the story. While the main story is that of the young woman who breaks off the engagement (the story begins and ends with that woman) the rest comes off as a series of vignettes 鈥� almost like a soap opera. So I鈥檒l say a 3.5 rounded up to 4. I much preferred another book of hers I have read, The City and the House, a story told entirely in letters. In Voices, there鈥檚 a lot of local color of a fictitious small town, presumably in Piedmont near Turin where the author (1916-1991) grew up.
Photo of a town in the Piedmont
Photo of the author from
August 11, 2024
SOTTERRARE I PENSIERI
Matisse: Les trois soeurs (sulla copertina della prima edizione).
Diversissimo da Caro Michele, l鈥檜nico altro della Ginzburg che finora ho letto 鈥� e belli entrambi, piaciuti entrambi 鈥� pubblicato nel 1961, in una lingua che m鈥櫭� parsa piacevolmente pi霉 antica 鈥� scritto quasi a voler imitare una favola, ma per fortuna tutto ammantato con tono di lieve burla 鈥� mi ha fatto pensare al Calvino che preferisco, quello della trilogia degli antenati 鈥� e forse il buon caro Italo un po鈥� si 猫 riconosciuto se ha voluto dedicare a queste cento paginette le sue sette qui apposte a mo鈥� di introduzione.
Felice Casorati: Lo straniero.
Elsa 猫 un io narrante che per la maggior parte della storia sembra onnisciente, ma di s茅 non parla mai se non attraverso il dialogo, e in generale commenta meno di niente. Vive in un paese che 猫 come un guscio di noce, in citt脿 ci va con la corriera, e la citt脿 presumo sia Torino.
In molti dialoghi, che abbondano, e sono tutti buffi assai, nei momenti in cui i personaggi fanno 鈥渃onversazione鈥� sembra di sentire l鈥檈co della Grande Signorina - di cui Natalia 猫 stata grande fan ed estimatrice, insieme all鈥橝lberto da Voghera probabilmente la prima qui da noi - ma l鈥檈ffetto 猫 meno tagliente, pi霉 tenero, 鈥渕eno pervicace e maligno鈥�.
Felice Casorati
Nel paese c鈥櫭� il padrone della fabbrica, la famiglia di maggior spicco: ma la pur numerosa prole dura poco e non 猫 mai all鈥檃ltezza del genitore, socialista in epoca fascista. Quello pi霉 pratico e attivo 猫 un trovatello che hanno adottato.
Del rampollo s鈥檌nnamora la nostra Elsa, ma rimane tiepidamente ricambiata: e il tentativo di fidanzamento s鈥檌nterrompe prima delle nozze.
E nonostante il chiacchiericcio imperi - pi霉 in ambito femminile che maschile - questa 猫 soprattutto una storia di silenzi, di pensieri sotterrati, di gente che volta le spalle alla propria anima.
La poesia 猫 sempre stata questo: far passare il mare in un imbuto; fissarsi uno strettissimo numero di mezzi espressivi e cercare d鈥檈sprimere con quello qualcosa d鈥檈stremamente complesso.
Baccio Maria Bacci: Pomeriggio a Fiesole (sulla copertina della mia edizione).
Matisse: Les trois soeurs (sulla copertina della prima edizione).
Diversissimo da Caro Michele, l鈥檜nico altro della Ginzburg che finora ho letto 鈥� e belli entrambi, piaciuti entrambi 鈥� pubblicato nel 1961, in una lingua che m鈥櫭� parsa piacevolmente pi霉 antica 鈥� scritto quasi a voler imitare una favola, ma per fortuna tutto ammantato con tono di lieve burla 鈥� mi ha fatto pensare al Calvino che preferisco, quello della trilogia degli antenati 鈥� e forse il buon caro Italo un po鈥� si 猫 riconosciuto se ha voluto dedicare a queste cento paginette le sue sette qui apposte a mo鈥� di introduzione.
Felice Casorati: Lo straniero.
Elsa 猫 un io narrante che per la maggior parte della storia sembra onnisciente, ma di s茅 non parla mai se non attraverso il dialogo, e in generale commenta meno di niente. Vive in un paese che 猫 come un guscio di noce, in citt脿 ci va con la corriera, e la citt脿 presumo sia Torino.
In molti dialoghi, che abbondano, e sono tutti buffi assai, nei momenti in cui i personaggi fanno 鈥渃onversazione鈥� sembra di sentire l鈥檈co della Grande Signorina - di cui Natalia 猫 stata grande fan ed estimatrice, insieme all鈥橝lberto da Voghera probabilmente la prima qui da noi - ma l鈥檈ffetto 猫 meno tagliente, pi霉 tenero, 鈥渕eno pervicace e maligno鈥�.
Felice Casorati
Nel paese c鈥櫭� il padrone della fabbrica, la famiglia di maggior spicco: ma la pur numerosa prole dura poco e non 猫 mai all鈥檃ltezza del genitore, socialista in epoca fascista. Quello pi霉 pratico e attivo 猫 un trovatello che hanno adottato.
Del rampollo s鈥檌nnamora la nostra Elsa, ma rimane tiepidamente ricambiata: e il tentativo di fidanzamento s鈥檌nterrompe prima delle nozze.
E nonostante il chiacchiericcio imperi - pi霉 in ambito femminile che maschile - questa 猫 soprattutto una storia di silenzi, di pensieri sotterrati, di gente che volta le spalle alla propria anima.
La poesia 猫 sempre stata questo: far passare il mare in un imbuto; fissarsi uno strettissimo numero di mezzi espressivi e cercare d鈥檈sprimere con quello qualcosa d鈥檈stremamente complesso.
Baccio Maria Bacci: Pomeriggio a Fiesole (sulla copertina della mia edizione).
November 22, 2022
鬲賻贀亘賱賷 丕賱丕賷丕賲 賵 鬲鬲卮丕亘賴 丕賱賱賷丕賱賷 賵 賷鬲爻乇亘 丕賱毓賲乇 賮賷 兀丨丿丕孬賽 賲兀賱賵賮丞 賵 丕丨丕丿賷孬 鬲丕賮賴丞 賵 賳賮賷賯 匕丕鬲 賲爻丕亍 賵 賳丨賳 賮丕賯丿賷賳 賱賰賱 賲丕 賷噩毓賱 賱賱丨賷丕丞 賲毓賳賶 賵 乇賵賳賯 賮亘毓囟 丕賱噩乇賵丨 鬲禺鬲賮賷 賮賯胤
賱賰賳 丕賱兀賱賲 賷馗賱 丨丕囟乇 亘丕賯
乇賵丕賷丞 禺丕賮鬲丞 丕賱氐賵鬲 亘丕乇丿丞 丕賱兀丨丿丕孬 賵 丕賱賵氐賮 賱丿乇噩丞 賳賮鬲賯丿賴丕 鬲賲丕賲丕 賮賷 毓夭賱賳丕 丕賱賲賳夭賱賷 丕賱毓丕賱賲賷 丕賱氐丕禺亘 丕賱匕賷 賷賰卮賮 賱賳丕 兀賳賮爻賳丕 賵 賲賳 丨賵賱賳丕..亘賷賳賲丕 兀氐賵丕鬲 丕賱賲爻丕亍 賮賷賴丕 氐賮丨丕鬲 賰丕賲賱丞 賱賲賳 賷鬲丨丿孬賵賳 賵 賷乇丿賵賳 毓賱賶 兀賳賮爻賴賲貨 鬲毓亘賷乇丕 毓賳 丕睾鬲乇丕亘 亘胤賱鬲賳丕 丕賱賰丕賲賱 賲毓賴賲
賳賳胤賱賯 賱賯乇賷丞 廿賷胤丕賱賷丞 賮賷 賲胤賱毓 丕賱爻鬲賷賳丕鬲 賵 賳鬲毓乇賮 毓賱賶 丕亘賳丞 賲丨乇乇 毓賯賵丿 亘賲氐賳毓 賵 丕爻乇鬲賴丕 賵 爻乇毓丕賳 賲丕 賳鬲乇賰賴賲 賱賳爻鬲毓乇囟 丨賷丕丞 亘丕賱賵鬲丕 丕賱毓氐丕賲賷 氐丕丨亘 賲氐賳毓 丕賱賯賲丕卮 賵 丕亘賳丕丐賴 丕賱禺賲爻丞 賵 乇亘賷亘賴 賵 丕氐丿賯丕卅賴賲 賲賳匕 丕賱丨乇亘 丕賱毓丕賱賲賷丞
賰賱 兀亘賳丕亍 "亘丕賱賵鬲丕"貙 賱爻亘亘 兀賵 賱丌禺賻乇貙 丕賱兀丨賷丕亍 賲賳賴賲 賵丕賱兀賲賵丕鬲貙 賷卮賵亘賴賲 丿丕卅賲賸丕 賳賵毓 賲賳 丕賱睾乇丕亘丞 貙 兀賮賰丕乇 睾賷乇 毓丕丿賷丞 貙 賵賴賲 賲賳 丕賱亘丕丨孬賷賳 毓賳 丕賱鬲毓丕爻丞
鬲爻鬲毓乇囟 禺賷亘丞 丕賲賱 丕賱廿賷胤丕賱賷賳 丕賱賲毓鬲丕丿丞 賮賷 兀亘賳丕卅賴賲 賵 孬賯丞 亘丕賱賵鬲丕 賮賷 丕賳 乇亘賷亘賴 :丕賱亘賵乇賷賱賱賵 賴賵 賮賯胤 賲賳 爻賷賵丕氐賱 賳噩丕丨賴
賳乇丕賯亘 丨爻乇丕鬲 丕賱毓賲乇 賵 禺賷亘丕鬲賴 賵 賲乇丕乇鬲賴 賲毓 亘囟毓 丕賳鬲氐丕乇丕鬲 賲爻乇賵賯丞
賵 亘賷賳 丕賱賮賷賱丕鬲 賵 丕賱亘賷賵鬲 丕賱噩亘賱賷丞 賷鬲賮乇賯 丕賱丕亘賳丕亍
丨鬲賶 賳氐賱 賱丕噩賲賱 兀亘胤丕賱 丕賱乇賵丕賷丞 鬲賵賲丕夭賷賳賵 賵 卮毓丕乇賴听 "毓卮 賲丕 卮卅鬲 賮兀賳鬲 賲賮丕乇賯" 賱賵 丕禺鬲乇鬲 賱賴 丕爻賲 毓乇亘賷 賮爻丕爻賲賷賴 賳爻賷賲.. 賰賱 賴丿賮賴 賮賷 丕賱丨賷丕丞 兀賳 賷毓亘乇賴丕 賰賳爻賲丞 丕賵 賴賲爻丞 毓丕亘乇丞
賵乇孬 賲毓馗賲 丕賱孬乇賵丞 賵 丕賱賲爻丐賱賷丞 賵 賱賰賳賴 賵乇孬 毓亘亍 賲賳 賲丕鬲賵丕 賵 賲賳 賷毓賷卮賵賳 賰丕賱賲賵鬲賷
丕"賮賷 賱丨馗丞 賲丕 賱丕 賷乇睾亘 丕賱賲乇亍 賮賷 賲賵丕噩賴丞 兀毓賲丕賯賴. 賱兀賳賴 賷卮毓乇 亘丕賱禺賵賮 亘兀賳賴 丕匕丕 賵丕噩賴賴 賮賱賳 賷噩丿 亘毓丿 匕賱賰 兀賷 賯丿乇丞 賱賱丕爻鬲賲乇丕乇 毓賱賶 賯賷丿 丕賱丨賷丕丞"丕
賰丕賳 鬲賵賲丕夭賷賳賵 賷丨賲賱 毓賱賶 賰鬲賮賷賴 兀毓亘丕亍 賲丕囟賷 賵 賲氐賳毓 賵 亘賱丿丞 賵 丨乇亘 賵 兀爻乇丞 賲毓賯丿丞
丨鬲賶 丨亘賴 賰丕賳 賯賱賷賱丕 賴卮丕貙 賰丕賳 賷毓鬲亘乇 丕賳 賲丕 亘賷賳賴賲丕 賴卮丕 賱丿乇噩丞 丕賳賴 賱賵 馗賴乇 賱賱賴賵丕亍 賵 丕賱賳賵乇 爻賷鬲胤丕賷乇 賵 賷賲賵鬲
丕*賱賳氐亘丨 賲孬賱 丕賱噩賲賷毓貙 賵賱賳賮毓賱 匕賱賰 丕賱匕賷 賷鬲賵賯毓 賲賳丕 丕賱噩賲賷毓 兀賳 賳賮毓賱賴." 丕
賮賴賱 賷賳噩丨 鬲賵賲丕夭賷賳賵 賮賷 丕賳 賷卮亘賴 丕賱丌禺乇賷賳責
兀睾乇亘 賲丕 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘毓丿 丕賱鬲乇噩賲丞貨賵 卮禺氐賷丞 丕賱亘胤賱丞 卮丿賷丿丞 丕賱亘乇賵丿
賴賵 丕賳賰 爻鬲卮毓乇 丕賳賰 鬲賯乇丕 賯氐丞 禺噩賵賱丞 鬲丨丕賮馗 毓賱賶 賲卮丕毓乇賰 賱丿乇噩丞 丕賱毓亘賵乇 賮賵賯 賱丨馗丕鬲 丕賱賲賵鬲 賵 丕賱鬲毓匕賷亘 賵 丕賱丨亘 賵 丕賱禺賷丕賳丞 賰兀賳賴丕 丕禺亘丕乇 鬲賳丕賵賱 丕賱廿賮胤丕乇
賱匕賱賰 賲賳 丕賱氐毓亘 兀賳 鬲鬲毓丕胤賮 賲毓 丕賱丕亘胤丕賱 亘廿爻鬲孬賳丕亍 鬲賵賲丕夭賷賳賵
賱賲 兀卮毓乇 賮賷賴丕 亘丕賷胤丕賱賷丕 賮賴賷 賱賷爻鬲 乇賵丕賷丞 賲賰丕賳听 賵 賱丕 亘丨賷賵賷丞賻 賵 乇賵丨 丕賱丕賷胤丕賱賷賷賳 爻賵賷 賮賷 賳賲賷賲鬲賴賲 丕賱賯乇賵賷丞 丕賱賲毓鬲丕丿丞 賵 賱賰賳賴丕 毓丕賱噩鬲 毓賯丿丞 丕賱丕亘賳 賵 丕賱丕亘賳丞 丕賱兀氐睾乇 亘卮賰賱 賲鬲賳賵毓
噩丕亍鬲 賰孬乇孬乇丞 賲賳爻丕亘丞 亘賱丕 賮賵丕氐賱 賲胤賱賯丕.. 賵 亘賱丕 丕賳賮毓丕賱丕鬲 丨丕丿丞 賵 亘賱丕 卮丨賳丞 丨賷丕丞 丨賯賷賯賷丞貨 賮賯胤 亘毓囟 丕賱卮噩賳
鬲賲丕賲丕 賰丕賷丕賲賳丕 賴匕賴 亘卮毓丕乇賴丕: 丕亘賯 賮賷 亘賷鬲賰 賱鬲亘賯賶 毓賱賶 賯賷丿 丕賱丨賷丕丞
賵 賱賰賳 丕賷 丨賷丕丞責
賱賰賳 丕賱兀賱賲 賷馗賱 丨丕囟乇 亘丕賯
乇賵丕賷丞 禺丕賮鬲丞 丕賱氐賵鬲 亘丕乇丿丞 丕賱兀丨丿丕孬 賵 丕賱賵氐賮 賱丿乇噩丞 賳賮鬲賯丿賴丕 鬲賲丕賲丕 賮賷 毓夭賱賳丕 丕賱賲賳夭賱賷 丕賱毓丕賱賲賷 丕賱氐丕禺亘 丕賱匕賷 賷賰卮賮 賱賳丕 兀賳賮爻賳丕 賵 賲賳 丨賵賱賳丕..亘賷賳賲丕 兀氐賵丕鬲 丕賱賲爻丕亍 賮賷賴丕 氐賮丨丕鬲 賰丕賲賱丞 賱賲賳 賷鬲丨丿孬賵賳 賵 賷乇丿賵賳 毓賱賶 兀賳賮爻賴賲貨 鬲毓亘賷乇丕 毓賳 丕睾鬲乇丕亘 亘胤賱鬲賳丕 丕賱賰丕賲賱 賲毓賴賲
賳賳胤賱賯 賱賯乇賷丞 廿賷胤丕賱賷丞 賮賷 賲胤賱毓 丕賱爻鬲賷賳丕鬲 賵 賳鬲毓乇賮 毓賱賶 丕亘賳丞 賲丨乇乇 毓賯賵丿 亘賲氐賳毓 賵 丕爻乇鬲賴丕 賵 爻乇毓丕賳 賲丕 賳鬲乇賰賴賲 賱賳爻鬲毓乇囟 丨賷丕丞 亘丕賱賵鬲丕 丕賱毓氐丕賲賷 氐丕丨亘 賲氐賳毓 丕賱賯賲丕卮 賵 丕亘賳丕丐賴 丕賱禺賲爻丞 賵 乇亘賷亘賴 賵 丕氐丿賯丕卅賴賲 賲賳匕 丕賱丨乇亘 丕賱毓丕賱賲賷丞
賰賱 兀亘賳丕亍 "亘丕賱賵鬲丕"貙 賱爻亘亘 兀賵 賱丌禺賻乇貙 丕賱兀丨賷丕亍 賲賳賴賲 賵丕賱兀賲賵丕鬲貙 賷卮賵亘賴賲 丿丕卅賲賸丕 賳賵毓 賲賳 丕賱睾乇丕亘丞 貙 兀賮賰丕乇 睾賷乇 毓丕丿賷丞 貙 賵賴賲 賲賳 丕賱亘丕丨孬賷賳 毓賳 丕賱鬲毓丕爻丞
鬲爻鬲毓乇囟 禺賷亘丞 丕賲賱 丕賱廿賷胤丕賱賷賳 丕賱賲毓鬲丕丿丞 賮賷 兀亘賳丕卅賴賲 賵 孬賯丞 亘丕賱賵鬲丕 賮賷 丕賳 乇亘賷亘賴 :丕賱亘賵乇賷賱賱賵 賴賵 賮賯胤 賲賳 爻賷賵丕氐賱 賳噩丕丨賴
賳乇丕賯亘 丨爻乇丕鬲 丕賱毓賲乇 賵 禺賷亘丕鬲賴 賵 賲乇丕乇鬲賴 賲毓 亘囟毓 丕賳鬲氐丕乇丕鬲 賲爻乇賵賯丞
賵 亘賷賳 丕賱賮賷賱丕鬲 賵 丕賱亘賷賵鬲 丕賱噩亘賱賷丞 賷鬲賮乇賯 丕賱丕亘賳丕亍
丨鬲賶 賳氐賱 賱丕噩賲賱 兀亘胤丕賱 丕賱乇賵丕賷丞 鬲賵賲丕夭賷賳賵 賵 卮毓丕乇賴听 "毓卮 賲丕 卮卅鬲 賮兀賳鬲 賲賮丕乇賯" 賱賵 丕禺鬲乇鬲 賱賴 丕爻賲 毓乇亘賷 賮爻丕爻賲賷賴 賳爻賷賲.. 賰賱 賴丿賮賴 賮賷 丕賱丨賷丕丞 兀賳 賷毓亘乇賴丕 賰賳爻賲丞 丕賵 賴賲爻丞 毓丕亘乇丞
賵乇孬 賲毓馗賲 丕賱孬乇賵丞 賵 丕賱賲爻丐賱賷丞 賵 賱賰賳賴 賵乇孬 毓亘亍 賲賳 賲丕鬲賵丕 賵 賲賳 賷毓賷卮賵賳 賰丕賱賲賵鬲賷
丕"賮賷 賱丨馗丞 賲丕 賱丕 賷乇睾亘 丕賱賲乇亍 賮賷 賲賵丕噩賴丞 兀毓賲丕賯賴. 賱兀賳賴 賷卮毓乇 亘丕賱禺賵賮 亘兀賳賴 丕匕丕 賵丕噩賴賴 賮賱賳 賷噩丿 亘毓丿 匕賱賰 兀賷 賯丿乇丞 賱賱丕爻鬲賲乇丕乇 毓賱賶 賯賷丿 丕賱丨賷丕丞"丕
賰丕賳 鬲賵賲丕夭賷賳賵 賷丨賲賱 毓賱賶 賰鬲賮賷賴 兀毓亘丕亍 賲丕囟賷 賵 賲氐賳毓 賵 亘賱丿丞 賵 丨乇亘 賵 兀爻乇丞 賲毓賯丿丞
丨鬲賶 丨亘賴 賰丕賳 賯賱賷賱丕 賴卮丕貙 賰丕賳 賷毓鬲亘乇 丕賳 賲丕 亘賷賳賴賲丕 賴卮丕 賱丿乇噩丞 丕賳賴 賱賵 馗賴乇 賱賱賴賵丕亍 賵 丕賱賳賵乇 爻賷鬲胤丕賷乇 賵 賷賲賵鬲
丕*賱賳氐亘丨 賲孬賱 丕賱噩賲賷毓貙 賵賱賳賮毓賱 匕賱賰 丕賱匕賷 賷鬲賵賯毓 賲賳丕 丕賱噩賲賷毓 兀賳 賳賮毓賱賴." 丕
賮賴賱 賷賳噩丨 鬲賵賲丕夭賷賳賵 賮賷 丕賳 賷卮亘賴 丕賱丌禺乇賷賳責
兀睾乇亘 賲丕 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘毓丿 丕賱鬲乇噩賲丞貨賵 卮禺氐賷丞 丕賱亘胤賱丞 卮丿賷丿丞 丕賱亘乇賵丿
賴賵 丕賳賰 爻鬲卮毓乇 丕賳賰 鬲賯乇丕 賯氐丞 禺噩賵賱丞 鬲丨丕賮馗 毓賱賶 賲卮丕毓乇賰 賱丿乇噩丞 丕賱毓亘賵乇 賮賵賯 賱丨馗丕鬲 丕賱賲賵鬲 賵 丕賱鬲毓匕賷亘 賵 丕賱丨亘 賵 丕賱禺賷丕賳丞 賰兀賳賴丕 丕禺亘丕乇 鬲賳丕賵賱 丕賱廿賮胤丕乇
賱匕賱賰 賲賳 丕賱氐毓亘 兀賳 鬲鬲毓丕胤賮 賲毓 丕賱丕亘胤丕賱 亘廿爻鬲孬賳丕亍 鬲賵賲丕夭賷賳賵
賱賲 兀卮毓乇 賮賷賴丕 亘丕賷胤丕賱賷丕 賮賴賷 賱賷爻鬲 乇賵丕賷丞 賲賰丕賳听 賵 賱丕 亘丨賷賵賷丞賻 賵 乇賵丨 丕賱丕賷胤丕賱賷賷賳 爻賵賷 賮賷 賳賲賷賲鬲賴賲 丕賱賯乇賵賷丞 丕賱賲毓鬲丕丿丞 賵 賱賰賳賴丕 毓丕賱噩鬲 毓賯丿丞 丕賱丕亘賳 賵 丕賱丕亘賳丞 丕賱兀氐睾乇 亘卮賰賱 賲鬲賳賵毓
噩丕亍鬲 賰孬乇孬乇丞 賲賳爻丕亘丞 亘賱丕 賮賵丕氐賱 賲胤賱賯丕.. 賵 亘賱丕 丕賳賮毓丕賱丕鬲 丨丕丿丞 賵 亘賱丕 卮丨賳丞 丨賷丕丞 丨賯賷賯賷丞貨 賮賯胤 亘毓囟 丕賱卮噩賳
鬲賲丕賲丕 賰丕賷丕賲賳丕 賴匕賴 亘卮毓丕乇賴丕: 丕亘賯 賮賷 亘賷鬲賰 賱鬲亘賯賶 毓賱賶 賯賷丿 丕賱丨賷丕丞
賵 賱賰賳 丕賷 丨賷丕丞責
April 29, 2025
賳鬲丕賱賷丕 噩賷賳夭亘賵乇噩 鬲丨丿孬 兀氐丿賯丕亍 毓賳 兀氐丿賯丕亍
賴丐賱丕亍 丕賱匕賷賳 賱賲 賳乇賴賲 賵賱賳 賳乇丕賴賲 兀亘丿丕 賱兀賳賴賲 賷爻賰賳賵賳 賲丿賷賳丞 亘毓賷丿丞 賮賷 禺賷丕賱賴丕
賴丐賱丕亍 丕賱匕賷賳 賳乇丕賴賲 賰賱 賷賵賲 賱兀賳賴賲 賴賳丕 丨賵賱賳丕 賮賷 丕賱亘賷賵鬲 賵丕賱卮賵丕乇毓 賵賲丨胤丕鬲 丕賱賲鬲乇賵 賵丕賱賲賯丕賴賷
賴丐賱丕亍 丕賱匕賷賳 賱賲 賳乇賴賲 兀亘丿丕
賱兀賳賳丕 賲乇乇賳丕 亘賴賲
賵丕賳夭賱賯鬲 賳馗乇丕鬲賳丕 毓賱賶 賵噩賵賴賴賲
賮賱賲 鬲賳胤亘毓 賮賷 毓賷賵賳賳丕 賲賱丕賲丨賴賲
賵賱賲 賳爻噩賱 卮賷卅丕 賲賳 兀爻乇丕乇賴賲 丕賱鬲賷 賷毓賱賳賴丕 氐賲鬲賴賲
賵鬲鬲賵賴 賮賷 丨賰丕賷丕鬲賴賲
丕賱鬲賷 賷丨賲賱賴丕 兀孬賷乇 賱丕 賲賵噩丞 賱賴 賮賷 賲匕賷丕毓
賵賱丕 賲爻鬲賯乇 賱賴 賮賷 賮丐丕丿
賴丐賱丕亍 丕賱匕賷賳 鬲毓賱賾賯鬲 毓賷賵賳賴賲 亘賳丕 賵賱賲 賳爻鬲胤毓 丕賳鬲卮丕賱賴賲
賲賳 丕賱睾乇賯 賮賷 丕賱賵丨丿丞
賴丐賱丕亍 丕賱匕賷賳 鬲乇噩賾鬲賴賲 毓賷賵賳賳丕
賵賲囟賵丕 毓丕噩夭賷賳 毓賳 鬲丨賲賾賱 丕賱氐亘乇
毓賱賶 賲卮丕賯 丕賱賲丨亘丞 丕賱鬲賷 賱丕 賷胤賵賷賴丕 乇丨賷賱
賲氐賳毓 氐睾賷乇 賵兀爻乇 賲毓丿賵丿丞 賵胤乇賯 賲鬲賯丕胤毓丞
賵毓丕丿丕鬲 賲賵乇賵孬丞 賷氐毓亘 丕賱賴乇亘 賲賳賴丕
廿賱賶 丨乇賷丞 賲胤賲賵爻丞 丕賱毓賱丕賲丕鬲
丨賵賱 丕賱賲氐賳毓 鬲賳賲賵 丕賱賲丿賷賳丞 賵鬲鬲卮丕亘賰 丕賱毓賱丕賯丕鬲
賵鬲鬲胤賵乇 鬲賯賳賷賾丕鬲 鬲毓丕胤賷 丕賱丨賷丕丞
賱爻丿 孬睾乇丕鬲 丕賱乇賵丨 丕賱丨丕卅乇丞
丕賱賲氐丕賳毓 賱丕 鬲賲丿賳丕 亘賲丿丕乇 賷爻鬲賵毓亘 賵噩賵丿賳丕 丕賱賲丐乇賯
賵禺胤 丕賱廿賳鬲丕噩 丕賱氐賳丕毓賷 賲賳 丕賱賲爻鬲丨賷賱 兀賳 賷賳鬲噩 丕賱丨亘
兀賵 賷丿毓賾賲 賰賷丕賳賴 丕賱乇賯賷賯
賵丕賱賳丕爻 兀爻乇賶 賯賷賵丿 丕賱丨賰丕賷丕鬲 丕賱賯丿賷賲丞
丕賱鬲賷 鬲毓賷丿 廿賳鬲丕噩 賲丌爻丕丞 毓丿賲 賵噩賵丿賴賲
賮丕卮賷丞 賵卮賷賵毓賷丞 賵丕卮鬲乇丕賰賷丞 賵賲賵鬲 賵賮乇丕乇 賵丨賷乇丞 賮賷 丕賱丕禺鬲賷丕乇
賵胤賯賵爻 賲毓丕丿丞 毓亘乇 丕賱兀噩賷丕賱
賳賱鬲賲爻 賮賷賴丕 賳賵丕丞 丕爻鬲賯乇丕乇 鬲爻鬲賳丿 廿賱賷賴丕 兀丨夭丕賳賳丕
睾賷乇 丕賱賲亘乇乇丞 亘賲賳胤賯 丕賱鬲賯丕賱賷丿
毓賳 毓丕賱賲 賱丕 賷卮亘賴 毓丕賱賲賳丕 賳亘丨孬
賮賷賴 丨亘 賵丨賷丿
賷爻鬲賯亘賱 氐賵鬲賳丕 丕賱賲毓匕賾亘 亘丕賱鬲賵丕氐賱 丕賱賲毓胤賵亘
賷賱鬲賲爻 賮賷 賮囟丕亍 丕賱賲丨丕賱 賱賯丕亍 亘毓賷丿 丕賱賲賳丕賱
賷丨賮馗 賲賳胤賯 胤丕卅乇 丕賱賯賱亘
賰噩賴丕夭 鬲爻噩賷賱 爻丨乇賷 鬲賳胤亘毓 賮賷賴 丕賱兀丨賱丕賲
賳丨賳 賲賯賷丿賵賳 亘兀睾賱丕賱 丕賱賵賯鬲
丕賱鬲賷 賱丕 鬲賮賴賲 賱賲丕匕丕 賱丕賳爻鬲爻賱賲責 賵丕賱賰賱 賷賮乇丨 亘賰 賲丕丿賲鬲 賮賷 丕賱丨馗賷乇丞
賲丿噩賳丕 亘賯賵丕卅賲 丕賱兀爻毓丕乇 賵毓賷賵賳 賱丕 鬲乇丕賰
兀氐賵丕鬲 丕賱賲爻丕亍
賱兀賳賳丕 兀氐賵丕鬲 賲賳賮乇丿丞 鬲鬲爻乇賾亘 賮賷 丨賵丕乇 亘賱丕 廿胤丕乇
賰賱 賷丨賰賷 亘廿氐乇丕乇
丿賵賳 乇丿 賵丕賱賮賯丿 丨氐丕乇
賵丕賱賲爻丕亍 丨賱賲 丌禺乇 丕賱賷賵賲
賵乇睾亘丞 賮賷 賳賴丕乇 噩丿賷丿
賳鬲禺賮賮 賮賷賴 賲賳 兀孬賯丕賱 鬲乇丕賰賲 丕賱兀丨賲丕賱
鬲賯賵賱 乇囟丕 丕賱丨賷丕丞 賱賷爻鬲 乇賵丕賷丞 賷丐丿賷 賰賱 廿賳爻丕賳 賮賷賴丕 丿賵乇賴 亘丿乇噩丞 賲賳 丕賱賲賴丕乇丞
兀賮賴賲 兀賳 丕賱兀賲 鬲乇賶 匕賱賰 賱兀賳賴丕 賳賲胤賷丞 毓丕卮鬲 兀爻賷乇丞 賱賱鬲賯丕賱賷丿
賴賳丕賰 兀賳丕爻 賱丕 鬲毓賷卮 丨賷丕丞 丨賯賷賯賷丞
廿賳 丕賱丨賷丕丞 鬲胤丨賳賴賲 賮賷 丕賱禺賱丕胤
亘毓囟賴賲 賱丿賷賴 賯賳丕毓丞 乇丕爻禺丞 亘兀賳賴 賮毓賱 賲丕 賷爻鬲胤賷毓
賵亘毓囟賴賲 賱丿賷賴 毓夭丕亍 亘兀賳賴 賱賲 賷噩丿 賮賷 丕賱賯丕卅賲丞 廿賱丕 丕禺鬲賷丕乇丕鬲 賯賱賷賱丞 賵賲鬲卮丕亘賴丞
賴賳丕賰 兀賳丕爻 賷丨丕賵賱賵賳 兀賳 賷賱鬲賲爻賵丕 丿丕禺賱 丕賱丨賷丕丞 賳賲賵匕噩丕 賲賳 廿毓丿丕丿賴賲
賴丐賱丕亍 丕賱匕賷賳 賮賰乇賵丕 禺丕乇噩 丕賱禺乇丕卅胤 丕賱賲毓丿賾丞 爻賱賮丕
賵賱賲 賷亘丨孬賵丕 毓賳 丕賱乇丕毓賷 丕賱乇爻賲賷 禺丕乇噩 毓丕賱賲賴賲 丕賱丿丕禺賱賷
廿賳賴賲 賷乇賮囟賵賳 丕賱廿匕毓丕賳 賱賲禺胤胤丕鬲 丕賱賲丨賷胤賷賳 亘賴賲
賵賷丿乇賰賵賳 鬲賲丕賲 丕賱廿丿乇丕賰 兀賳賴賲 爻賷賯丕亘賱賵賳 賲賳 賷爻鬲賲毓 廿賱賷賴賲 賵丨丿賴賲
賲賳 爻賷賳氐鬲 亘賲賵丿丞 賱兀氐賵丕鬲賴賲 丕賱鬲賷 賱賲 鬲禺鬲賱胤 賳亘乇丕鬲賴丕 亘睾亘丕乇 丕賱賲丿賷賳丞
賰賲 賰丕賳 氐賵鬲賴丕 乇丕卅毓丕 丨賷賳賲丕 賰丕賳鬲 鬲鬲賰賱賾賲
賴丐賱丕亍 丕賱匕賷賳 賱賲 賳乇賴賲 賵賱賳 賳乇丕賴賲 兀亘丿丕 賱兀賳賴賲 賷爻賰賳賵賳 賲丿賷賳丞 亘毓賷丿丞 賮賷 禺賷丕賱賴丕
賴丐賱丕亍 丕賱匕賷賳 賳乇丕賴賲 賰賱 賷賵賲 賱兀賳賴賲 賴賳丕 丨賵賱賳丕 賮賷 丕賱亘賷賵鬲 賵丕賱卮賵丕乇毓 賵賲丨胤丕鬲 丕賱賲鬲乇賵 賵丕賱賲賯丕賴賷
賴丐賱丕亍 丕賱匕賷賳 賱賲 賳乇賴賲 兀亘丿丕
賱兀賳賳丕 賲乇乇賳丕 亘賴賲
賵丕賳夭賱賯鬲 賳馗乇丕鬲賳丕 毓賱賶 賵噩賵賴賴賲
賮賱賲 鬲賳胤亘毓 賮賷 毓賷賵賳賳丕 賲賱丕賲丨賴賲
賵賱賲 賳爻噩賱 卮賷卅丕 賲賳 兀爻乇丕乇賴賲 丕賱鬲賷 賷毓賱賳賴丕 氐賲鬲賴賲
賵鬲鬲賵賴 賮賷 丨賰丕賷丕鬲賴賲
丕賱鬲賷 賷丨賲賱賴丕 兀孬賷乇 賱丕 賲賵噩丞 賱賴 賮賷 賲匕賷丕毓
賵賱丕 賲爻鬲賯乇 賱賴 賮賷 賮丐丕丿
賴丐賱丕亍 丕賱匕賷賳 鬲毓賱賾賯鬲 毓賷賵賳賴賲 亘賳丕 賵賱賲 賳爻鬲胤毓 丕賳鬲卮丕賱賴賲
賲賳 丕賱睾乇賯 賮賷 丕賱賵丨丿丞
賴丐賱丕亍 丕賱匕賷賳 鬲乇噩賾鬲賴賲 毓賷賵賳賳丕
賵賲囟賵丕 毓丕噩夭賷賳 毓賳 鬲丨賲賾賱 丕賱氐亘乇
毓賱賶 賲卮丕賯 丕賱賲丨亘丞 丕賱鬲賷 賱丕 賷胤賵賷賴丕 乇丨賷賱
賲氐賳毓 氐睾賷乇 賵兀爻乇 賲毓丿賵丿丞 賵胤乇賯 賲鬲賯丕胤毓丞
賵毓丕丿丕鬲 賲賵乇賵孬丞 賷氐毓亘 丕賱賴乇亘 賲賳賴丕
廿賱賶 丨乇賷丞 賲胤賲賵爻丞 丕賱毓賱丕賲丕鬲
丨賵賱 丕賱賲氐賳毓 鬲賳賲賵 丕賱賲丿賷賳丞 賵鬲鬲卮丕亘賰 丕賱毓賱丕賯丕鬲
賵鬲鬲胤賵乇 鬲賯賳賷賾丕鬲 鬲毓丕胤賷 丕賱丨賷丕丞
賱爻丿 孬睾乇丕鬲 丕賱乇賵丨 丕賱丨丕卅乇丞
丕賱賲氐丕賳毓 賱丕 鬲賲丿賳丕 亘賲丿丕乇 賷爻鬲賵毓亘 賵噩賵丿賳丕 丕賱賲丐乇賯
賵禺胤 丕賱廿賳鬲丕噩 丕賱氐賳丕毓賷 賲賳 丕賱賲爻鬲丨賷賱 兀賳 賷賳鬲噩 丕賱丨亘
兀賵 賷丿毓賾賲 賰賷丕賳賴 丕賱乇賯賷賯
賵丕賱賳丕爻 兀爻乇賶 賯賷賵丿 丕賱丨賰丕賷丕鬲 丕賱賯丿賷賲丞
丕賱鬲賷 鬲毓賷丿 廿賳鬲丕噩 賲丌爻丕丞 毓丿賲 賵噩賵丿賴賲
賮丕卮賷丞 賵卮賷賵毓賷丞 賵丕卮鬲乇丕賰賷丞 賵賲賵鬲 賵賮乇丕乇 賵丨賷乇丞 賮賷 丕賱丕禺鬲賷丕乇
賵胤賯賵爻 賲毓丕丿丞 毓亘乇 丕賱兀噩賷丕賱
賳賱鬲賲爻 賮賷賴丕 賳賵丕丞 丕爻鬲賯乇丕乇 鬲爻鬲賳丿 廿賱賷賴丕 兀丨夭丕賳賳丕
睾賷乇 丕賱賲亘乇乇丞 亘賲賳胤賯 丕賱鬲賯丕賱賷丿
毓賳 毓丕賱賲 賱丕 賷卮亘賴 毓丕賱賲賳丕 賳亘丨孬
賮賷賴 丨亘 賵丨賷丿
賷爻鬲賯亘賱 氐賵鬲賳丕 丕賱賲毓匕賾亘 亘丕賱鬲賵丕氐賱 丕賱賲毓胤賵亘
賷賱鬲賲爻 賮賷 賮囟丕亍 丕賱賲丨丕賱 賱賯丕亍 亘毓賷丿 丕賱賲賳丕賱
賷丨賮馗 賲賳胤賯 胤丕卅乇 丕賱賯賱亘
賰噩賴丕夭 鬲爻噩賷賱 爻丨乇賷 鬲賳胤亘毓 賮賷賴 丕賱兀丨賱丕賲
賳丨賳 賲賯賷丿賵賳 亘兀睾賱丕賱 丕賱賵賯鬲
丕賱鬲賷 賱丕 鬲賮賴賲 賱賲丕匕丕 賱丕賳爻鬲爻賱賲責 賵丕賱賰賱 賷賮乇丨 亘賰 賲丕丿賲鬲 賮賷 丕賱丨馗賷乇丞
賲丿噩賳丕 亘賯賵丕卅賲 丕賱兀爻毓丕乇 賵毓賷賵賳 賱丕 鬲乇丕賰
兀氐賵丕鬲 丕賱賲爻丕亍
賱兀賳賳丕 兀氐賵丕鬲 賲賳賮乇丿丞 鬲鬲爻乇賾亘 賮賷 丨賵丕乇 亘賱丕 廿胤丕乇
賰賱 賷丨賰賷 亘廿氐乇丕乇
丿賵賳 乇丿 賵丕賱賮賯丿 丨氐丕乇
賵丕賱賲爻丕亍 丨賱賲 丌禺乇 丕賱賷賵賲
賵乇睾亘丞 賮賷 賳賴丕乇 噩丿賷丿
賳鬲禺賮賮 賮賷賴 賲賳 兀孬賯丕賱 鬲乇丕賰賲 丕賱兀丨賲丕賱
鬲賯賵賱 乇囟丕 丕賱丨賷丕丞 賱賷爻鬲 乇賵丕賷丞 賷丐丿賷 賰賱 廿賳爻丕賳 賮賷賴丕 丿賵乇賴 亘丿乇噩丞 賲賳 丕賱賲賴丕乇丞
兀賮賴賲 兀賳 丕賱兀賲 鬲乇賶 匕賱賰 賱兀賳賴丕 賳賲胤賷丞 毓丕卮鬲 兀爻賷乇丞 賱賱鬲賯丕賱賷丿
賴賳丕賰 兀賳丕爻 賱丕 鬲毓賷卮 丨賷丕丞 丨賯賷賯賷丞
廿賳 丕賱丨賷丕丞 鬲胤丨賳賴賲 賮賷 丕賱禺賱丕胤
亘毓囟賴賲 賱丿賷賴 賯賳丕毓丞 乇丕爻禺丞 亘兀賳賴 賮毓賱 賲丕 賷爻鬲胤賷毓
賵亘毓囟賴賲 賱丿賷賴 毓夭丕亍 亘兀賳賴 賱賲 賷噩丿 賮賷 丕賱賯丕卅賲丞 廿賱丕 丕禺鬲賷丕乇丕鬲 賯賱賷賱丞 賵賲鬲卮丕亘賴丞
賴賳丕賰 兀賳丕爻 賷丨丕賵賱賵賳 兀賳 賷賱鬲賲爻賵丕 丿丕禺賱 丕賱丨賷丕丞 賳賲賵匕噩丕 賲賳 廿毓丿丕丿賴賲
賴丐賱丕亍 丕賱匕賷賳 賮賰乇賵丕 禺丕乇噩 丕賱禺乇丕卅胤 丕賱賲毓丿賾丞 爻賱賮丕
賵賱賲 賷亘丨孬賵丕 毓賳 丕賱乇丕毓賷 丕賱乇爻賲賷 禺丕乇噩 毓丕賱賲賴賲 丕賱丿丕禺賱賷
廿賳賴賲 賷乇賮囟賵賳 丕賱廿匕毓丕賳 賱賲禺胤胤丕鬲 丕賱賲丨賷胤賷賳 亘賴賲
賵賷丿乇賰賵賳 鬲賲丕賲 丕賱廿丿乇丕賰 兀賳賴賲 爻賷賯丕亘賱賵賳 賲賳 賷爻鬲賲毓 廿賱賷賴賲 賵丨丿賴賲
賲賳 爻賷賳氐鬲 亘賲賵丿丞 賱兀氐賵丕鬲賴賲 丕賱鬲賷 賱賲 鬲禺鬲賱胤 賳亘乇丕鬲賴丕 亘睾亘丕乇 丕賱賲丿賷賳丞
賰賲 賰丕賳 氐賵鬲賴丕 乇丕卅毓丕 丨賷賳賲丕 賰丕賳鬲 鬲鬲賰賱賾賲
August 16, 2022
鬲賻贀亘賱賷 丕賱丕賷丕賲 賵 鬲鬲卮丕亘賴 丕賱賱賷丕賱賷 賵 賷鬲爻乇亘 丕賱毓賲乇 賮賷 兀丨丿丕孬賽 賲兀賱賵賮丞 賵 丕丨丕丿賷孬 鬲丕賮賴丞 賵 賳賮賷賯 匕丕鬲 賲爻丕亍 賵 賳丨賳 賮丕賯丿賷賳 賱賰賱 賲丕 賷噩毓賱 賱賱丨賷丕丞 賲毓賳賶 賵 乇賵賳賯 亘毓囟听 賮亘毓囟 丕賱噩乇賵丨 鬲禺鬲賮賷 賮賯胤
賱賰賳 丕賱兀賱賲 賷馗賱 丨丕囟乇 亘丕賯
乇賵丕賷丞 禺丕賮鬲丞 丕賱氐賵鬲 亘丕乇丿丞 丕賱兀丨丿丕孬 賵 丕賱賵氐賮 賱丿乇噩丞 賳賮鬲賯丿賴丕 鬲賲丕賲丕 賮賷 毓夭賱賳丕 丕賱賲賳夭賱賷 丕賱毓丕賱賲賷 丕賱氐丕禺亘 丕賱匕賷 賷賰卮賮 賱賳丕 兀賳賮爻賳丕 賵 賲賳 丨賵賱賳丕.. 亘賷賳賲丕 兀氐賵丕鬲 丕賱賲爻丕亍 賮賷賴丕 氐賮丨丕鬲 賰丕賲賱丞 賱賲賳 賷鬲丨丿孬賵賳 賵 賷乇丿賵賳 毓賱賶 兀賳賮爻賴賲 鬲毓亘賷乇丕 毓賳 丕睾鬲乇丕亘 亘胤賱鬲賳丕 丕賱賰丕賲賱 賲毓賴賲
賳賳胤賱賯 賱賯乇賷丞 廿賷胤丕賱賷丞 賮賷 賲胤賱毓 丕賱爻鬲賷賳丕鬲 賵 賳鬲毓乇賮 毓賱賶 丕亘賳丞 賲丨乇乇 毓賯賵丿 亘賲氐賳毓 賵 丕爻乇鬲賴丕 賵 爻乇毓丕賳 賲丕 賳鬲乇賰賴賲 賱賳爻鬲毓乇囟 丨賷丕丞 亘丕賱賵鬲丕 丕賱毓氐丕賲賷 氐丕丨亘 賲氐賳毓 丕賱賯賲丕卮 賵 丕亘賳丕丐賴 丕賱禺賲爻丞 賵 乇亘賷亘賴 賵 丕氐丿賯丕卅賴賲 賲賳匕 丕賱丨乇亘 丕賱毓丕賱賲賷丞
賰賱 兀亘賳丕亍 "亘丕賱賵鬲丕"貙 賱爻亘亘 兀賵 賱丌禺賻乇貙 丕賱兀丨賷丕亍 賲賳賴賲 賵丕賱兀賲賵丕鬲貙 賷卮賵亘賴賲 丿丕卅賲賸丕 賳賵毓 賲賳 丕賱睾乇丕亘丞貙 兀賮賰丕乇 睾賷乇 毓丕丿賷丞貙 賵賴賲 賲賳 丕賱亘丕丨孬賷賳 毓賳 丕賱鬲毓丕爻丞
鬲爻鬲毓乇囟 禺賷亘丞 丕賲賱 丕賱廿賷胤丕賱賷賳 丕賱賲毓鬲丕丿丞 賮賷 兀亘賳丕卅賴賲 賵 孬賯丞 亘丕賱賵鬲丕听 賮賷 丕賳 乇亘賷亘賴 丕賱亘賵乇賷賱賱賵 賴賵 賲賳 .爻賷賵丕氐賱 賳噩丕丨賴
賳爻鬲毓乇囟 禺賷亘丕鬲 丕賱毓賲乇 賵 賲乇丕乇鬲賴 賵 丕賳鬲氐丕乇丕鬲 賲爻乇賵賯丞
賵 亘賷賳 丕賱賮賷賱丕鬲 賵 丕賱亘賷賵鬲 丕賱噩亘賱賷丞 亘鬲賮乇賯 丕賱丕亘賳丕亍
丨鬲賶 賳氐賱 賱丕噩賲賱 兀亘胤丕賱 丕賱乇賵丕賷丞 鬲賵賲丕夭賷賳賵 賵 卮毓丕乇賴听 "毓卮 賲丕 卮卅鬲 賮兀賳鬲 賲賮丕乇賯" 賱賵 丕禺鬲乇鬲 賱賴 丕爻賲 毓乇亘賷 賮爻丕爻賲賷賴 賳爻賷賲.. 賰賱 賴丿賮賴 賮賷 丕賱丨賷丕丞 兀賳 亘毓匕乇賴丕 賰賳爻賲丞 丕賵 賴賲爻丞 毓丕亘乇丞
賵乇孬 賲毓馗賲 丕賱孬乇賵丞 賵 丕賱賲爻丐賱賷丞 賵 賱賰賳賴 賵乇孬 毓亘亍 賲賳 賲丕鬲賵丕 賵 賲賳 賷毓賷卮賵賳 賰丕賱賲賵鬲賷
丕"賮賷 賱丨馗丞 賲丕 賱丕 賷乇睾亘 丕賱賲乇亍 賮賷 賲賵丕噩賴丞 兀毓賲丕賯賴. 賱兀賳賴 賷卮毓乇 亘丕賱禺賵賮 亘兀賳賴 丕匕丕 賵丕噩賴賴 賮賱賳 賷噩丿 亘毓丿 匕賱賰 兀賷 賯丿乇丞 賱賱丕爻鬲賲乇丕乇 毓賱賶 賯賷丿 丕賱丨賷丕丞"丕
賰丕賳 鬲賵賲丕乇賷賳賵 賷丨賲賱 毓賱賶 賰鬲賮賷賴 兀毓亘丕亍 賲丕囟賷 賵 亘賱丿丞 賵 丨乇亘 賵 兀爻乇丞 睾丕賲囟丞
丨鬲賶 賮賷 丨亘賴 賰丕賳 賯賱賷賱丕 賴卮丕貙 賰丕賳 賷毓鬲亘乇 丕賳 賲丕 亘賷賳賴賲丕 賴卮丕 賱丿乇噩丞 丕賳賴 賱賵 馗賴乇 賱賱賴賵丕亍 賵 丕賱賳賵乇 爻賷鬲胤丕賷乇
丕*賱賳氐亘丨 賲孬賱 丕賱噩賲賷毓貙賵賱賳賮毓賱 匕賱賰 丕賱匕賷 賷鬲賵賯毓 賲賳丕 丕賱噩賲賷毓 兀賳 賳賮毓賱賴." 丕
賮賴賱 賷賳噩丨 鬲賵賲丕乇賷賳賵 賮賷 丕賳 賷卮亘賴 丕賱丌禺乇賷賳責
兀睾乇亘 賲丕 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘毓丿 丕賱鬲乇噩賲丞貨賵 卮禺氐賷丞 丕賱亘胤賱丞 卮丿賷丿丞 丕賱亘乇賵丿貨 賴賵 丕賳賰 爻鬲卮毓乇 丕賳賰 鬲賯乇丕 賯氐丞 禺噩賵賱丞 鬲丨丕賮馗 毓賱賶 賲卮丕毓乇賰 賱丿乇噩丞 丕賱毓亘賵乇 賮賵賯 賱丨馗丕鬲 丕賱賲賵鬲 賵 丕賱鬲毓匕賷亘 賵 丕賱丨亘 賵 丕賱禺賷丕賳丞 賰兀賳賴丕 丕禺亘丕乇 鬲賳丕賵賱 丕賱廿賮胤丕乇..
賱賲 兀卮毓乇 賮賷賴丕 亘丕賷胤丕賱賷丕 賮賴賷 賱賷爻鬲 乇賵丕賷丞 賲賰丕賳听 賵 賱丕 亘丕賱丕賷胤丕賱賷賷賳 爻賵賷 賮賷 賳賲賷賲鬲賴賲 丕賱賯乇賵賷丞 丕賱賲毓鬲丕丿丞
噩丕亍鬲 賰孬乇孬乇丞 賲賳爻丕亘丞 亘賱丕 賮賵丕氐賱 賲胤賱賯丕.. 賵 亘賱丕 丕賳賮毓丕賱丕鬲 丨丕丿丞 賵 亘賱丕 卮丨賳丞 丨賷丕丞 丨賯賷賯賷丞
鬲賲丕賲丕 賰丕賷丕賲賳丕 賴匕賴 亘卮毓丕乇賴丕: 丕亘賯 賮賷 亘賷鬲賰 賱鬲亘賯賶 毓賱賶 賯賷丿 丕賱丨賷丕丞
賵 賱賰賳 丕賷 丨賷丕丞責
賱賰賳 丕賱兀賱賲 賷馗賱 丨丕囟乇 亘丕賯
乇賵丕賷丞 禺丕賮鬲丞 丕賱氐賵鬲 亘丕乇丿丞 丕賱兀丨丿丕孬 賵 丕賱賵氐賮 賱丿乇噩丞 賳賮鬲賯丿賴丕 鬲賲丕賲丕 賮賷 毓夭賱賳丕 丕賱賲賳夭賱賷 丕賱毓丕賱賲賷 丕賱氐丕禺亘 丕賱匕賷 賷賰卮賮 賱賳丕 兀賳賮爻賳丕 賵 賲賳 丨賵賱賳丕.. 亘賷賳賲丕 兀氐賵丕鬲 丕賱賲爻丕亍 賮賷賴丕 氐賮丨丕鬲 賰丕賲賱丞 賱賲賳 賷鬲丨丿孬賵賳 賵 賷乇丿賵賳 毓賱賶 兀賳賮爻賴賲 鬲毓亘賷乇丕 毓賳 丕睾鬲乇丕亘 亘胤賱鬲賳丕 丕賱賰丕賲賱 賲毓賴賲
賳賳胤賱賯 賱賯乇賷丞 廿賷胤丕賱賷丞 賮賷 賲胤賱毓 丕賱爻鬲賷賳丕鬲 賵 賳鬲毓乇賮 毓賱賶 丕亘賳丞 賲丨乇乇 毓賯賵丿 亘賲氐賳毓 賵 丕爻乇鬲賴丕 賵 爻乇毓丕賳 賲丕 賳鬲乇賰賴賲 賱賳爻鬲毓乇囟 丨賷丕丞 亘丕賱賵鬲丕 丕賱毓氐丕賲賷 氐丕丨亘 賲氐賳毓 丕賱賯賲丕卮 賵 丕亘賳丕丐賴 丕賱禺賲爻丞 賵 乇亘賷亘賴 賵 丕氐丿賯丕卅賴賲 賲賳匕 丕賱丨乇亘 丕賱毓丕賱賲賷丞
賰賱 兀亘賳丕亍 "亘丕賱賵鬲丕"貙 賱爻亘亘 兀賵 賱丌禺賻乇貙 丕賱兀丨賷丕亍 賲賳賴賲 賵丕賱兀賲賵丕鬲貙 賷卮賵亘賴賲 丿丕卅賲賸丕 賳賵毓 賲賳 丕賱睾乇丕亘丞貙 兀賮賰丕乇 睾賷乇 毓丕丿賷丞貙 賵賴賲 賲賳 丕賱亘丕丨孬賷賳 毓賳 丕賱鬲毓丕爻丞
鬲爻鬲毓乇囟 禺賷亘丞 丕賲賱 丕賱廿賷胤丕賱賷賳 丕賱賲毓鬲丕丿丞 賮賷 兀亘賳丕卅賴賲 賵 孬賯丞 亘丕賱賵鬲丕听 賮賷 丕賳 乇亘賷亘賴 丕賱亘賵乇賷賱賱賵 賴賵 賲賳 .爻賷賵丕氐賱 賳噩丕丨賴
賳爻鬲毓乇囟 禺賷亘丕鬲 丕賱毓賲乇 賵 賲乇丕乇鬲賴 賵 丕賳鬲氐丕乇丕鬲 賲爻乇賵賯丞
賵 亘賷賳 丕賱賮賷賱丕鬲 賵 丕賱亘賷賵鬲 丕賱噩亘賱賷丞 亘鬲賮乇賯 丕賱丕亘賳丕亍
丨鬲賶 賳氐賱 賱丕噩賲賱 兀亘胤丕賱 丕賱乇賵丕賷丞 鬲賵賲丕夭賷賳賵 賵 卮毓丕乇賴听 "毓卮 賲丕 卮卅鬲 賮兀賳鬲 賲賮丕乇賯" 賱賵 丕禺鬲乇鬲 賱賴 丕爻賲 毓乇亘賷 賮爻丕爻賲賷賴 賳爻賷賲.. 賰賱 賴丿賮賴 賮賷 丕賱丨賷丕丞 兀賳 亘毓匕乇賴丕 賰賳爻賲丞 丕賵 賴賲爻丞 毓丕亘乇丞
賵乇孬 賲毓馗賲 丕賱孬乇賵丞 賵 丕賱賲爻丐賱賷丞 賵 賱賰賳賴 賵乇孬 毓亘亍 賲賳 賲丕鬲賵丕 賵 賲賳 賷毓賷卮賵賳 賰丕賱賲賵鬲賷
丕"賮賷 賱丨馗丞 賲丕 賱丕 賷乇睾亘 丕賱賲乇亍 賮賷 賲賵丕噩賴丞 兀毓賲丕賯賴. 賱兀賳賴 賷卮毓乇 亘丕賱禺賵賮 亘兀賳賴 丕匕丕 賵丕噩賴賴 賮賱賳 賷噩丿 亘毓丿 匕賱賰 兀賷 賯丿乇丞 賱賱丕爻鬲賲乇丕乇 毓賱賶 賯賷丿 丕賱丨賷丕丞"丕
賰丕賳 鬲賵賲丕乇賷賳賵 賷丨賲賱 毓賱賶 賰鬲賮賷賴 兀毓亘丕亍 賲丕囟賷 賵 亘賱丿丞 賵 丨乇亘 賵 兀爻乇丞 睾丕賲囟丞
丨鬲賶 賮賷 丨亘賴 賰丕賳 賯賱賷賱丕 賴卮丕貙 賰丕賳 賷毓鬲亘乇 丕賳 賲丕 亘賷賳賴賲丕 賴卮丕 賱丿乇噩丞 丕賳賴 賱賵 馗賴乇 賱賱賴賵丕亍 賵 丕賱賳賵乇 爻賷鬲胤丕賷乇
丕*賱賳氐亘丨 賲孬賱 丕賱噩賲賷毓貙賵賱賳賮毓賱 匕賱賰 丕賱匕賷 賷鬲賵賯毓 賲賳丕 丕賱噩賲賷毓 兀賳 賳賮毓賱賴." 丕
賮賴賱 賷賳噩丨 鬲賵賲丕乇賷賳賵 賮賷 丕賳 賷卮亘賴 丕賱丌禺乇賷賳責
兀睾乇亘 賲丕 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘毓丿 丕賱鬲乇噩賲丞貨賵 卮禺氐賷丞 丕賱亘胤賱丞 卮丿賷丿丞 丕賱亘乇賵丿貨 賴賵 丕賳賰 爻鬲卮毓乇 丕賳賰 鬲賯乇丕 賯氐丞 禺噩賵賱丞 鬲丨丕賮馗 毓賱賶 賲卮丕毓乇賰 賱丿乇噩丞 丕賱毓亘賵乇 賮賵賯 賱丨馗丕鬲 丕賱賲賵鬲 賵 丕賱鬲毓匕賷亘 賵 丕賱丨亘 賵 丕賱禺賷丕賳丞 賰兀賳賴丕 丕禺亘丕乇 鬲賳丕賵賱 丕賱廿賮胤丕乇..
賱賲 兀卮毓乇 賮賷賴丕 亘丕賷胤丕賱賷丕 賮賴賷 賱賷爻鬲 乇賵丕賷丞 賲賰丕賳听 賵 賱丕 亘丕賱丕賷胤丕賱賷賷賳 爻賵賷 賮賷 賳賲賷賲鬲賴賲 丕賱賯乇賵賷丞 丕賱賲毓鬲丕丿丞
噩丕亍鬲 賰孬乇孬乇丞 賲賳爻丕亘丞 亘賱丕 賮賵丕氐賱 賲胤賱賯丕.. 賵 亘賱丕 丕賳賮毓丕賱丕鬲 丨丕丿丞 賵 亘賱丕 卮丨賳丞 丨賷丕丞 丨賯賷賯賷丞
鬲賲丕賲丕 賰丕賷丕賲賳丕 賴匕賴 亘卮毓丕乇賴丕: 丕亘賯 賮賷 亘賷鬲賰 賱鬲亘賯賶 毓賱賶 賯賷丿 丕賱丨賷丕丞
賵 賱賰賳 丕賷 丨賷丕丞責
April 5, 2023
Qu茅 belleza este libro!!! O no s茅 si me lleg贸 justo en el momento en el cual lo necesitaba, es incre铆ble la belleza toda de esta historia, como la cuenta, la narradora, todo es muy hermoso. Cuenta la historia de una familia, sus idas y vueltas, casamientos etc. pero no es solo eso lo que la hizo tan especial, para mi hay algo en su tono que me tiene enamorada, porque est谩 hablando de la contundencia de una guerra que atraves贸 un mont贸n de vidas, pero la cuenta como si hablara de las flores. Es una belleza. Y en el momento en el cual aparece la narradora como personaje, bueno, me lleg贸 al coraz贸n. Muy recomendado. Y si no han le铆do Peque帽as Virtudes de Ginzburg, les pido que lo hagan, es maravilloso.
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September 17, 2019This short novel is a delight from beginning to end.
Voices in the Evening begins with the narrator and her mother walking homewards through their Italian mountain village one evening in autumn. The final chapter repeats that journey one year later.
Initially, the voices of the title seem to be mainly one voice, the mother's, speaking her thoughts aloud as she walks alongside her daughter. Her's are disconnected thoughts, roaming over a variety of subjects, often triggered by houses they pass on the way or people they see, or random thoughts and questions that occur to her. The narrator is the silent target of the mother's monologue, only speaking when the mother expresses her impatience at receiving no response to her questions: Couldn't we sometimes have the miracle of a word from you?
A word is almost all she gets; the daughter's answers tend to be monosyllabic.
What the reader soon realises is that the daughter's reluctance to engage with the mother is because the two are poles apart. The daughter deals in plain facts, the mother in biased judgements based on suppositions and embroidered memories, complete fictions in other words. These two poles become a kind of frame for the stories of the families who've lived in the houses they pass on their journey homewards, and which the daughter recounts to us from the second chapter onwards, filling us in on the 'facts' behind her mother's 'fictions', or at least those facts that are generally known in the community.
Since fact seems to be the daughter's currency, the stories come to us spare and unadorned. But the lives that are revealed are rich with incident and drama. The years of the narrative range from the mid 1930s to the late 1940s. Some of the people in the village are or have been fascists, others are socialists, a few are communists. Some have survived the war, some haven't. Marriages take place and children are born though there is little evidence of any deep love between the people involved even if some of them preserve the fiction of being in love.
However, the most genuine and deeply felt love story happens right under the mother's nose and the reader enjoys the fact that she gets no chance to embellish or distort it. An added irony is that this episode occurs as a result of the narrator's aunt's addiction to novels, an addiction which the mother derides 鈥� her household chores leave her no time for indulging in fiction! The aunt's books have to be collected from the library in the nearby town twice a week, allowing the daughter to escape the all-seeing eyes of the village, for a time at least. When the mother finally discovers the affair, her desire to embellish the simple facts of the delicate love story transform it and it becomes another of the embroidered memories she likes to recount while walking home of an autumn evening.
Did I say that this spare novel is a delight from beginning to end?
It most certainly is.
Voices in the Evening begins with the narrator and her mother walking homewards through their Italian mountain village one evening in autumn. The final chapter repeats that journey one year later.
Initially, the voices of the title seem to be mainly one voice, the mother's, speaking her thoughts aloud as she walks alongside her daughter. Her's are disconnected thoughts, roaming over a variety of subjects, often triggered by houses they pass on the way or people they see, or random thoughts and questions that occur to her. The narrator is the silent target of the mother's monologue, only speaking when the mother expresses her impatience at receiving no response to her questions: Couldn't we sometimes have the miracle of a word from you?
A word is almost all she gets; the daughter's answers tend to be monosyllabic.
What the reader soon realises is that the daughter's reluctance to engage with the mother is because the two are poles apart. The daughter deals in plain facts, the mother in biased judgements based on suppositions and embroidered memories, complete fictions in other words. These two poles become a kind of frame for the stories of the families who've lived in the houses they pass on their journey homewards, and which the daughter recounts to us from the second chapter onwards, filling us in on the 'facts' behind her mother's 'fictions', or at least those facts that are generally known in the community.
Since fact seems to be the daughter's currency, the stories come to us spare and unadorned. But the lives that are revealed are rich with incident and drama. The years of the narrative range from the mid 1930s to the late 1940s. Some of the people in the village are or have been fascists, others are socialists, a few are communists. Some have survived the war, some haven't. Marriages take place and children are born though there is little evidence of any deep love between the people involved even if some of them preserve the fiction of being in love.
However, the most genuine and deeply felt love story happens right under the mother's nose and the reader enjoys the fact that she gets no chance to embellish or distort it. An added irony is that this episode occurs as a result of the narrator's aunt's addiction to novels, an addiction which the mother derides 鈥� her household chores leave her no time for indulging in fiction! The aunt's books have to be collected from the library in the nearby town twice a week, allowing the daughter to escape the all-seeing eyes of the village, for a time at least. When the mother finally discovers the affair, her desire to embellish the simple facts of the delicate love story transform it and it becomes another of the embroidered memories she likes to recount while walking home of an autumn evening.
Did I say that this spare novel is a delight from beginning to end?
It most certainly is.
September 22, 2021
"What I think about now, I tell a little of it to myself, and then I bury it. I send it underground. Then, little by little, I shall not tell things any more even to myself. I shall drive everything underground at once, every random thought, before it can take shape."
Voices in the Evening is set in a sleepy gossipy judgemental Italian town after the second world war where everyone is expected to slot into their narrow allotted role. It's narrated by Elsa who is twenty-seven and unmarried and begins with her taking a walk with her mother. In a few lines of dialogue the mother evokes all the oppressive smallness of the expectations open to Elsa in the small town. This mother is a gem of a character, one of the best depictions of oppressive motherhood I've encountered. Elsa initially tells us little about herself. Instead, we hear about the town's prominent family, the De Francisci who own the town's cloth factory. How the various members fared during the war. As usual Ginzburg aspires to report fact rather than indulge in judgement. Her prose both masterfully blunt and sharp. Eventually we learn Elsa is conducting an affair with the youngest son of the De Francisci family, on the surface the epitome of a sordid affair. Tommasino (another fabulously drawn character: a cad with layers of depth) isn't though the archetypal cad. He too feels oppressed by the narrow roles offered by the provincial town. He's brutally honest both with himself and with Elsa. By the end of the book we understand Elsa's mother and most of the town are living in a world of fiction. Honesty a luxury few are willing to pay for.
Another thoroughly enjoyable book from Ginzburg. 4+ stars.
Voices in the Evening is set in a sleepy gossipy judgemental Italian town after the second world war where everyone is expected to slot into their narrow allotted role. It's narrated by Elsa who is twenty-seven and unmarried and begins with her taking a walk with her mother. In a few lines of dialogue the mother evokes all the oppressive smallness of the expectations open to Elsa in the small town. This mother is a gem of a character, one of the best depictions of oppressive motherhood I've encountered. Elsa initially tells us little about herself. Instead, we hear about the town's prominent family, the De Francisci who own the town's cloth factory. How the various members fared during the war. As usual Ginzburg aspires to report fact rather than indulge in judgement. Her prose both masterfully blunt and sharp. Eventually we learn Elsa is conducting an affair with the youngest son of the De Francisci family, on the surface the epitome of a sordid affair. Tommasino (another fabulously drawn character: a cad with layers of depth) isn't though the archetypal cad. He too feels oppressed by the narrow roles offered by the provincial town. He's brutally honest both with himself and with Elsa. By the end of the book we understand Elsa's mother and most of the town are living in a world of fiction. Honesty a luxury few are willing to pay for.
Another thoroughly enjoyable book from Ginzburg. 4+ stars.
July 15, 2020
Le Voci Della Sera = Voices in the Evening, Natalia Ginzburg
An elegant, spare novel reminiscent of Chekhov, Voices in the Evening is an unforgettable story about first love and lost chances, from one of the greatest Italian writers of the twentieth century.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 鬲乇噩賲賴 賮丕乇爻蹖 爻丕賱 1989賲蹖賱丕丿蹖
毓賳賵丕賳: 賳噩賵丕賴丕蹖 卮亘丕賳賴貨 賳賵蹖爻賳丿賴: 賳丕鬲丕賱蹖丕 诏蹖賳夭亘賵乇诏貨 賲鬲乇噩賲 賮乇蹖丿賴 賱丕卮丕賳蹖貨 鬲賴乇丕賳貙 丕爻倬乇诏貙 1367貨 丿乇 176氐貨 毓讴爻貨 趩丕倬 丿賵賲 1368貨 趩丕倬 爻賵賲貙 鬲賴乇丕賳貙 丿蹖诏乇貙 1378貙 丿乇 133氐貨 卮丕亘讴 9649210679貨 趩丕倬 趩賴丕乇賲 1385貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖鬲丕賱蹖丕蹖蹖 - 爻丿賴 20賲
丿丕爻鬲丕賳 丕夭 夭亘丕賳 蹖讴 夭賳 噩賵丕賳 卮乇賲诏蹖賳 賵 鬲賳賴丕貙 亘丕夭诏賵 賲蹖鈥屫促堌� 乇丕賵蹖 乇賵蹖丿丕丿賴丕蹖 丿賵乇 賵 亘乇 禺賵丿 乇丕 亘丕 賴賲丕賳 亘蹖 倬乇丿賴 诏賵蹖蹖 馗丕賱賲丕賳賴 賲蹖鈥屬嗂ж必� 讴賴 卮讴爻鬲 禺賵乇丿賳 丿乇 毓卮賯 禺賵蹖卮 乇丕...貨
賳丕鬲丕賱蹖丕 诏蹖賳夭亘乇诏 丿乇 芦倬丕賱乇賲賵蹖 丕蹖鬲丕賱蹖丕禄 亘賴 丿賳蹖丕 丌賲丿賳丿貙 賵 亘蹖卮鬲乇 丿賵乇丕賳 夭賳丿诏蹖 禺賵丿 乇丕 丿乇 芦鬲賵乇蹖賳禄 诏匕乇丕賳丿賳丿. 賳丕賲 禺丕賳賵丕丿诏蹖 丕蹖卮丕賳 丿乇 丕氐賱 芦賱賽賵蹖禄 亘賵丿 讴賴 倬爻 丕夭 丕夭丿賵丕噩卮 亘丕 芦賱卅賵賳 诏蹖賳夭亘乇诏禄 丿乇 爻丕賱 1938賲蹖賱丕丿蹖貙 賳丕賲 禺丕賳賵丕丿诏蹖 卮賵賴乇卮 乇丕 亘乇诏夭蹖丿貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 24/04/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
An elegant, spare novel reminiscent of Chekhov, Voices in the Evening is an unforgettable story about first love and lost chances, from one of the greatest Italian writers of the twentieth century.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 鬲乇噩賲賴 賮丕乇爻蹖 爻丕賱 1989賲蹖賱丕丿蹖
毓賳賵丕賳: 賳噩賵丕賴丕蹖 卮亘丕賳賴貨 賳賵蹖爻賳丿賴: 賳丕鬲丕賱蹖丕 诏蹖賳夭亘賵乇诏貨 賲鬲乇噩賲 賮乇蹖丿賴 賱丕卮丕賳蹖貨 鬲賴乇丕賳貙 丕爻倬乇诏貙 1367貨 丿乇 176氐貨 毓讴爻貨 趩丕倬 丿賵賲 1368貨 趩丕倬 爻賵賲貙 鬲賴乇丕賳貙 丿蹖诏乇貙 1378貙 丿乇 133氐貨 卮丕亘讴 9649210679貨 趩丕倬 趩賴丕乇賲 1385貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖鬲丕賱蹖丕蹖蹖 - 爻丿賴 20賲
丿丕爻鬲丕賳 丕夭 夭亘丕賳 蹖讴 夭賳 噩賵丕賳 卮乇賲诏蹖賳 賵 鬲賳賴丕貙 亘丕夭诏賵 賲蹖鈥屫促堌� 乇丕賵蹖 乇賵蹖丿丕丿賴丕蹖 丿賵乇 賵 亘乇 禺賵丿 乇丕 亘丕 賴賲丕賳 亘蹖 倬乇丿賴 诏賵蹖蹖 馗丕賱賲丕賳賴 賲蹖鈥屬嗂ж必� 讴賴 卮讴爻鬲 禺賵乇丿賳 丿乇 毓卮賯 禺賵蹖卮 乇丕...貨
賳丕鬲丕賱蹖丕 诏蹖賳夭亘乇诏 丿乇 芦倬丕賱乇賲賵蹖 丕蹖鬲丕賱蹖丕禄 亘賴 丿賳蹖丕 丌賲丿賳丿貙 賵 亘蹖卮鬲乇 丿賵乇丕賳 夭賳丿诏蹖 禺賵丿 乇丕 丿乇 芦鬲賵乇蹖賳禄 诏匕乇丕賳丿賳丿. 賳丕賲 禺丕賳賵丕丿诏蹖 丕蹖卮丕賳 丿乇 丕氐賱 芦賱賽賵蹖禄 亘賵丿 讴賴 倬爻 丕夭 丕夭丿賵丕噩卮 亘丕 芦賱卅賵賳 诏蹖賳夭亘乇诏禄 丿乇 爻丕賱 1938賲蹖賱丕丿蹖貙 賳丕賲 禺丕賳賵丕丿诏蹖 卮賵賴乇卮 乇丕 亘乇诏夭蹖丿貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 24/04/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
September 8, 2023
A short and rather melancholy novel, which I can best describe as a window on the lives of a group of interrelated characters (mostly from a single extended family) in a small Italian village. The time period is from about the 1930s to about the 1950s. Reading some background on the author, her first husband was sent into internal exile from 1941-43, to a remote village in the Abruzzo region, and the author accompanied him. I can鈥檛 be sure but I feel this village was the inspiration for the one in the novel. The main characters are all drawn from the middle and upper class inhabitants, the sort who employ others as servants.
As with all villages, this one is a gossipy sort of place. Many of the inhabitants, the male ones anyway, are known by nicknames, again a common practice in small and self-contained communities.
The author was well-known as a political activist, but though politics is mentioned in this novel, it plays a minor role compared to the relationships between the characters. Personal relations also take priority over politics. One character, nicknamed 鈥淧urillo鈥� is a member of the Fascist Party, but tips off his adoptive father, a socialist, that the fascists are planning to murder him. After the war Purillo is initially fearful and ashamed of his past allegiance to the fascists. He speaks to a woman called Raffaella, who was with the communist partisans, and tells her he is thinking of killing himself since he had blundered so badly. She scoffs at him with the comment 鈥淵ou were not the only Fascist. Italy was full of them!鈥�
Mostly though, the relationships that develop between the book鈥檚 characters are strained. This applies between parents and children, siblings, and married couples. Many of them seem to have a sense of the village as an oppressive place, where they are forced to conform to the expectations of family and society, rather than follow their own wishes. The characters have a tendency to be brutally honest with each other.
The story is skilfully told, though this isn't a plot driven novel. Despite its qualities, I didn鈥檛 entirely warm to it. Many of the characters are distant from one another, and I think that led me to feel distant from them as well.
As with all villages, this one is a gossipy sort of place. Many of the inhabitants, the male ones anyway, are known by nicknames, again a common practice in small and self-contained communities.
The author was well-known as a political activist, but though politics is mentioned in this novel, it plays a minor role compared to the relationships between the characters. Personal relations also take priority over politics. One character, nicknamed 鈥淧urillo鈥� is a member of the Fascist Party, but tips off his adoptive father, a socialist, that the fascists are planning to murder him. After the war Purillo is initially fearful and ashamed of his past allegiance to the fascists. He speaks to a woman called Raffaella, who was with the communist partisans, and tells her he is thinking of killing himself since he had blundered so badly. She scoffs at him with the comment 鈥淵ou were not the only Fascist. Italy was full of them!鈥�
Mostly though, the relationships that develop between the book鈥檚 characters are strained. This applies between parents and children, siblings, and married couples. Many of them seem to have a sense of the village as an oppressive place, where they are forced to conform to the expectations of family and society, rather than follow their own wishes. The characters have a tendency to be brutally honest with each other.
The story is skilfully told, though this isn't a plot driven novel. Despite its qualities, I didn鈥檛 entirely warm to it. Many of the characters are distant from one another, and I think that led me to feel distant from them as well.
December 6, 2019
***1/2
Natalia Ginzburg's elegant and spare novel centers on a cozy Italian village where there looms a tight atmosphere that reflects its residents' attachments as they cope in differing ways to the gradual changes in life brought about by fascism and by modernization. It it's core, we have Elsa, the narrator, who is an old fashioned romantic and begins a love affair with Tommasino, who is the son of the family whose aging cloth mill factory dominates the town. She is the child still at home, with little sign of finding a partner until this clandestine relationship blooms. Ginzburg, whose writings have effectively integrated the war or postwar period into daily life without over dramatising events, starts with Elsa out strolling through the Italian countryside while her hypochondriac mother bickers on about her health grievances and reflects on the comings and goings of their neighbours, so we learn early on that the novel has a close-knit feel to it in capturing the simple daily occurrences that bind people together. In the fashion of a quiet evening conversation, Elsa, recounts the lives of the villagers, who one way or another seem politically divided, while her love affair remains below the surface until the novel's finale. Hidden almost as effectively from us as from her parents. Through Elsa we are introduced to members of the The De Francisci family, who have a fare share of colourful characters, headed by Old Ballota, whose children are described in order of seniority to us in Ginzburg's sharply amusing pen portraits.
There is Gemmina the eldest daughter, friend of Elsa who travels to Switzerland to escape the war, Mario who is married to an obscure Russian, Xenia, the adoptive son Purillo who likes to sleep around, the unhappily married Vincenzino, the tomboy Raffaella who joined the partisans, and the youngest son Tomassino. We are only lightly taken through their lives, yet Ginzburg still manages to get across in well under two hundred pages their assertions, hopes and ambitions, their quarrels and restlessness, and their puerile longings. There is strong sense of homesickness for the past as Ginzburg weaves her story, and overall I found Voices in the Evening to be a pleasant enough read, however, when compared to the two other Ginzburg novels I have read (All Our Yesterdays, The City and the House) this just wasn't quite on the same level.
March 28, 2021
乇賵丕賷丞 噩賲賷賱丞.. 丌爻乇丞 鬲爻鬲賵賱賷 毓賱賶 賲賰丕賳 亘賯賱亘賰 賱丕賲丨丕賱 ...
賱賯丿 賵賯毓鬲 賮賷 丨亘 卮禺氐賷丕鬲賴丕 賵賰賳鬲 賲爻鬲賲鬲毓丞 亘丨賰丕賷丕鬲賴賲 賵鬲賳丕賴賶 廿賱賶 賲爻丕賲毓賷 兀氐賵丕鬲 兀賮賰丕乇賴賲 丕賱丿賮賷賳丞貙 鬲賱賰 丕賱兀氐賵丕鬲 丕賱鬲賷 鬲睾賵乇 毓賲賷賯丕賸 賵亘毓賷丿丕賸....
賱賯丿 賵賯毓鬲 賮賷 丨亘 卮禺氐賷丕鬲賴丕 賵賰賳鬲 賲爻鬲賲鬲毓丞 亘丨賰丕賷丕鬲賴賲 賵鬲賳丕賴賶 廿賱賶 賲爻丕賲毓賷 兀氐賵丕鬲 兀賮賰丕乇賴賲 丕賱丿賮賷賳丞貙 鬲賱賰 丕賱兀氐賵丕鬲 丕賱鬲賷 鬲睾賵乇 毓賲賷賯丕賸 賵亘毓賷丿丕賸....
October 1, 2023
Cenas da vida na aldeia. 脡 basicamente isso que define esta obra de Natalia Ginzburg, que segue um leque de personagens ligadas a quatro fam铆lias, antes, durante e ap贸s a Segunda Guerra Mundial.
- Como pode pesar, uma aldeia! 鈥揹isse. 鈥� Tem um peso de chumbo, com todos os seus mortos! Como me pesa esta nossa aldeia, t茫o pequena, um punhado de casas! Nunca posso libertar-me dela, n茫o posso esquecer-me dela!
脡 mau sinal quando termino um livro, por mais pequeno que seja, sem uma 煤nica frase marcada, mas foi precisamente isso que aconteceu em 鈥淎s Palavras da Noite鈥�, onde a tradu莽茫o ridiculamente colada ao original e a revis茫o displicente (a desenvolver posteriormente, s贸 para quem quiser mais do mesmo), s贸 veio tornar mais atabalhoada uma escrita j谩 por si ba莽a, com frases curtas e abruptas que raramente aprecio.
Na primeira parte de 鈥淎s Palavras da Noite鈥�, as v谩rias personagens que s茫o apresentadas alternadamente por uma das moradoras, Elsa, crescem, casam, t锚m filhos, divorciam-se, morrem e, enfim, isso 茅 a lei da vida e n茫o me d谩 propriamente tempo para criar liga莽茫o com nenhuma delas. Numa fase mais adiantada do livro, percebe-se que todas essas cenas descritas s茫o um pre芒mbulo para o v铆nculo que Elsa criou com um dos rapazes da aldeia e o peso que isso tem na idea莽茫o e na concretiza莽茫o do seu relacionamento, o que salva o livro do descalabro.
- Tinha imaginado tudo, com demasiada clareza. Tinha-nos imaginado, a ti e a mim, aqui, nesta sala, nesta casa. Tinha imaginado tudo, com uma tal precis茫o, at茅 ao mais 铆nfimo pormenor. E quando se v锚em as coisas futuras com tanta clareza, como se j谩 estivessem a suceder, ent茫o, 茅 sinal de que n茫o devem suceder nunca. Porque j谩 sucederam, num certo sentido, na nossa cabe莽a e n茫o nos 茅 mais consentido experiment谩-las a s茅rio.
脡 o quarto livro de Natalia Ginzburg que leio e s贸 鈥淔oi Assim鈥� me impressionou verdadeiramente.
[H谩 pouco tempo, o respons谩vel da editora Rel贸gio d鈥櫭乬ua veio a p煤blico insurgiu-se, com toda a raz茫o, contra a utiliza莽茫o de intelig锚ncia artificial na tradu莽茫o liter谩ria, mas, ainda que reconhe莽a que algu茅m tem de p么r um trav茫o nisso, o que de momento me preocupa mesmo 茅 a intelig锚ncia humana. Se ningu茅m em editoras de renome quer saber como chega uma tradu莽茫o 脿s livrarias, pergunto: 茅 prefer铆vel pagar 5 euros por um livro traduzido 脿s tr锚s pancadas por IA ou 15 euros por um traduzido e revisto por duas alminhas sem brio, que nem notas de rodap茅 se d茫o ao trabalho de incluir? Se os leitores portugueses n茫o se interessam pela qualidade da transposi莽茫o para portugu锚s, apenas com a hist贸ria, e digo-o porque vejo pouca gente a barafustar, a resposta, num pa铆s onde comprar livros 茅 um luxo e as pessoas n茫o t锚m dinheiro para casa e comida, parece-me 贸bvia. Como disse o outro j谩 nos idos anos 90: 鈥淚t鈥檚 the economy, stupid!鈥漖
- Como pode pesar, uma aldeia! 鈥揹isse. 鈥� Tem um peso de chumbo, com todos os seus mortos! Como me pesa esta nossa aldeia, t茫o pequena, um punhado de casas! Nunca posso libertar-me dela, n茫o posso esquecer-me dela!
脡 mau sinal quando termino um livro, por mais pequeno que seja, sem uma 煤nica frase marcada, mas foi precisamente isso que aconteceu em 鈥淎s Palavras da Noite鈥�, onde a tradu莽茫o ridiculamente colada ao original e a revis茫o displicente (a desenvolver posteriormente, s贸 para quem quiser mais do mesmo), s贸 veio tornar mais atabalhoada uma escrita j谩 por si ba莽a, com frases curtas e abruptas que raramente aprecio.
Na primeira parte de 鈥淎s Palavras da Noite鈥�, as v谩rias personagens que s茫o apresentadas alternadamente por uma das moradoras, Elsa, crescem, casam, t锚m filhos, divorciam-se, morrem e, enfim, isso 茅 a lei da vida e n茫o me d谩 propriamente tempo para criar liga莽茫o com nenhuma delas. Numa fase mais adiantada do livro, percebe-se que todas essas cenas descritas s茫o um pre芒mbulo para o v铆nculo que Elsa criou com um dos rapazes da aldeia e o peso que isso tem na idea莽茫o e na concretiza莽茫o do seu relacionamento, o que salva o livro do descalabro.
- Tinha imaginado tudo, com demasiada clareza. Tinha-nos imaginado, a ti e a mim, aqui, nesta sala, nesta casa. Tinha imaginado tudo, com uma tal precis茫o, at茅 ao mais 铆nfimo pormenor. E quando se v锚em as coisas futuras com tanta clareza, como se j谩 estivessem a suceder, ent茫o, 茅 sinal de que n茫o devem suceder nunca. Porque j谩 sucederam, num certo sentido, na nossa cabe莽a e n茫o nos 茅 mais consentido experiment谩-las a s茅rio.
脡 o quarto livro de Natalia Ginzburg que leio e s贸 鈥淔oi Assim鈥� me impressionou verdadeiramente.
[H谩 pouco tempo, o respons谩vel da editora Rel贸gio d鈥櫭乬ua veio a p煤blico insurgiu-se, com toda a raz茫o, contra a utiliza莽茫o de intelig锚ncia artificial na tradu莽茫o liter谩ria, mas, ainda que reconhe莽a que algu茅m tem de p么r um trav茫o nisso, o que de momento me preocupa mesmo 茅 a intelig锚ncia humana. Se ningu茅m em editoras de renome quer saber como chega uma tradu莽茫o 脿s livrarias, pergunto: 茅 prefer铆vel pagar 5 euros por um livro traduzido 脿s tr锚s pancadas por IA ou 15 euros por um traduzido e revisto por duas alminhas sem brio, que nem notas de rodap茅 se d茫o ao trabalho de incluir? Se os leitores portugueses n茫o se interessam pela qualidade da transposi莽茫o para portugu锚s, apenas com a hist贸ria, e digo-o porque vejo pouca gente a barafustar, a resposta, num pa铆s onde comprar livros 茅 um luxo e as pessoas n茫o t锚m dinheiro para casa e comida, parece-me 贸bvia. Como disse o outro j谩 nos idos anos 90: 鈥淚t鈥檚 the economy, stupid!鈥漖
December 22, 2022
鈥徺佡� 丕賱丨賷丕丞 賰孬賷乇 賲賳 丕賱兀卮賷丕亍 丕賱丨夭賷賳丞. 賱賲丕匕丕 賳賯乇兀 丕賱乇賵丕賷丕鬲責
兀賱賷爻鬲 丕賱丨賷丕丞 賳賮爻賴丕 乇賵丕賷丞 責!
兀賱賷爻鬲 丕賱丨賷丕丞 賳賮爻賴丕 乇賵丕賷丞 責!
August 10, 2024
E anche tu finirai col sotterrare i tuoi pensieri?
Delicatezza e potenza.
La Ginzburg in pochissime pagine, usando dialoghi ridotti all'osso oltre che ad un linguaggio semplicissimo, ricostruisce una saga familiare.
La cosa sorprendente sono proprio i dialoghi. Cos矛 realistici, cos矛 vicini alla mia esperienza personale (es.dialoghi, o meglio, monologhi della madre rivolti ad Elsa, narratrice) che la sensazione 猫 di stare l矛 dentro, di essere parte di quella vita l矛 e quelle dinamiche l矛.
Riporto le parole di Calvino, in prefazione perch茅 non lo saprei dire meglio:
"Le voci della sera 猫 una storia di persone che cercano di sotterrare i pensieri, d鈥檌dentificarsi soltanto nei gesti che compiono e nelle parole che dicono e finiscono per ritrovarsi strette in una morsa di assurdit脿 e di dolore."(*)
La protagonista, Elsa "猫 una donna che mai ci dice nulla di s茅, delle sue speranze e delle sue delusioni; non solo, ma questa donna che ha sotterrato i pensieri ci rappresenta un uomo che ha sotterrato i pensieri lui pure, che pare non abbia mezzi per esprimere la sua insoddisfazione e sfiducia. Attraverso una narrazione tutta dialogo, Natalia Ginzburg ci racconta la storia di due silenzi che si sovrappongono, che cercano di sommarsi, che si contrastano."(*)
L'essenza del libro in un passaggio spietato e dolente:
"鈥� La Raffaella, 鈥� disse, 鈥� certo non pensa d鈥檈ssere infelice. Ha sotterrato tutti i suoi pensieri. 脠 infelice, ma fa in modo di non dirselo, per poter vivere.
鈥� E d鈥檃ltronde, 鈥� disse, 鈥� si finisce sempre col vivere cos铆.
鈥� E anche tu, 鈥� dissi, 鈥� col tempo, andando avanti, finirai col sotterrare i tuoi pensieri?"
E quel tu del dialogo tra Elsa e il suo quasi futuro sposo, esce dalla pagina per parlare a chi legge.
Altra cosa stupefacente, che sinceramente non ricordavo essere cos矛 presente nelle altre cose che ho letto di suo, 猫 il sense of humor, crudele e caustico. Sta l矛, in sordina, tra l'esplito e l'implicito, pronto ad essere colto, pi霉 di una volta mi strappato un sorriso ovviamente amarissimo.
Poco da fare la Ginzburg sempre un gran leggere.
Attingere dall'elenco di libri presenti su Alta Voce si 猫 rivelato un ottimo spunto per leggere bene se non benissimo.
(*) Prefazione Calvino edizione Einaudi
Delicatezza e potenza.
La Ginzburg in pochissime pagine, usando dialoghi ridotti all'osso oltre che ad un linguaggio semplicissimo, ricostruisce una saga familiare.
La cosa sorprendente sono proprio i dialoghi. Cos矛 realistici, cos矛 vicini alla mia esperienza personale (es.dialoghi, o meglio, monologhi della madre rivolti ad Elsa, narratrice) che la sensazione 猫 di stare l矛 dentro, di essere parte di quella vita l矛 e quelle dinamiche l矛.
Riporto le parole di Calvino, in prefazione perch茅 non lo saprei dire meglio:
"Le voci della sera 猫 una storia di persone che cercano di sotterrare i pensieri, d鈥檌dentificarsi soltanto nei gesti che compiono e nelle parole che dicono e finiscono per ritrovarsi strette in una morsa di assurdit脿 e di dolore."(*)
La protagonista, Elsa "猫 una donna che mai ci dice nulla di s茅, delle sue speranze e delle sue delusioni; non solo, ma questa donna che ha sotterrato i pensieri ci rappresenta un uomo che ha sotterrato i pensieri lui pure, che pare non abbia mezzi per esprimere la sua insoddisfazione e sfiducia. Attraverso una narrazione tutta dialogo, Natalia Ginzburg ci racconta la storia di due silenzi che si sovrappongono, che cercano di sommarsi, che si contrastano."(*)
L'essenza del libro in un passaggio spietato e dolente:
"鈥� La Raffaella, 鈥� disse, 鈥� certo non pensa d鈥檈ssere infelice. Ha sotterrato tutti i suoi pensieri. 脠 infelice, ma fa in modo di non dirselo, per poter vivere.
鈥� E d鈥檃ltronde, 鈥� disse, 鈥� si finisce sempre col vivere cos铆.
鈥� E anche tu, 鈥� dissi, 鈥� col tempo, andando avanti, finirai col sotterrare i tuoi pensieri?"
E quel tu del dialogo tra Elsa e il suo quasi futuro sposo, esce dalla pagina per parlare a chi legge.
Altra cosa stupefacente, che sinceramente non ricordavo essere cos矛 presente nelle altre cose che ho letto di suo, 猫 il sense of humor, crudele e caustico. Sta l矛, in sordina, tra l'esplito e l'implicito, pronto ad essere colto, pi霉 di una volta mi strappato un sorriso ovviamente amarissimo.
Poco da fare la Ginzburg sempre un gran leggere.
Attingere dall'elenco di libri presenti su Alta Voce si 猫 rivelato un ottimo spunto per leggere bene se non benissimo.
(*) Prefazione Calvino edizione Einaudi
October 13, 2017
噩賲賷賱丞 :) 乇賵丕賷丞 噩賲賷賱丞 ... 孬乇孬乇丞 賲賲鬲毓丞
鬲賮丕毓賱鬲 賲毓 卮禺氐賷丕鬲 丕賱乇賵丕賷丞 賵鬲毓噩亘鬲 賲賳 賯丿乇鬲賷 毓賱賶 丕賱氐亘乇 毓賱賶 匕賱賰 丕賱爻乇丿 丕賱匕賷 賰丕賳 賲賲鬲毓丕 賵賱匕賷匕丕 賮賷 賵丕賯毓 丕賱兀賲乇 賵爻丕毓丿鬲 丕賱鬲乇噩賲丞 丕賱爻賱爻丞 賵丕賱睾賷乇 賲鬲賰賱賮丞 毓賱賶 馗賴賵乇 丕賱爻乇丿 亘賴匕丕 丕賱卮賰賱 丕賱賲賲鬲毓
丕賱鬲賯賱亘丕鬲 賮賷 丕賱胤亘丕毓 賵丕賱兀賮賰丕乇 賵丕賱鬲兀乇噩丨 賮賷 丕賱賲卮丕毓乇 賵廿賱丨丕丨 丕賱兀賲賴丕鬲 賴賷 爻賲丕鬲 丕賱乇賵丕賷丞 賵噩夭亍 賲賳 兀爻丕爻 丕賱爻乇丿
賱乇亘賲丕 鬲兀孬乇鬲 賰孬賷乇丕 亘賭 乇丕賮丕賷賷賱賱丕 :) 鬲賱賰 丕賱鬲賷 鬲睾賷乇鬲 賯賳丕毓丕鬲賴丕 賵兀賮賰丕乇賴丕 亘賲噩乇丿 丕賱夭賵丕噩 賵丕賱丕賳噩丕亘 ... 賵鬲兀孬乇鬲 亘賭 鬲賵賲丕夭賷賳賵 賵兀賮賰丕乇賴 兀賷囟丕 ... 賰丕賳 乇賵賲丕賳爻賷丕 乇睾賲丕 毓賳賴 賵丨鬲賶 賲毓 賳賮賷賴 賱匕賱賰 :)
兀丨亘亘鬲 賴匕賴 丕賱乇賵丕賷丞 丕賱賴丕丿卅丞 ... 鬲禺賷賱鬲 兀賳賳賷 毓賳丿賲丕 鬲乇賰鬲賴丕 賱丕賳卮睾丕賱賷 亘賲匕丕賰乇丞 兀胤賮丕賱賷 兀賳賳賷 賱賳 兀毓賵丿 賱賴丕 賵賱賰賳 賲毓 毓賵丿鬲賷 賱賯乇丕亍丞 爻胤賵乇賴丕 廿賱鬲賴賲鬲 鬲賱賰 丕賱爻胤賵乇 亘賳賴賲 卮丿賷丿 馃 ... 賲賲鬲毓丞 :)
鬲賮丕毓賱鬲 賲毓 卮禺氐賷丕鬲 丕賱乇賵丕賷丞 賵鬲毓噩亘鬲 賲賳 賯丿乇鬲賷 毓賱賶 丕賱氐亘乇 毓賱賶 匕賱賰 丕賱爻乇丿 丕賱匕賷 賰丕賳 賲賲鬲毓丕 賵賱匕賷匕丕 賮賷 賵丕賯毓 丕賱兀賲乇 賵爻丕毓丿鬲 丕賱鬲乇噩賲丞 丕賱爻賱爻丞 賵丕賱睾賷乇 賲鬲賰賱賮丞 毓賱賶 馗賴賵乇 丕賱爻乇丿 亘賴匕丕 丕賱卮賰賱 丕賱賲賲鬲毓
丕賱鬲賯賱亘丕鬲 賮賷 丕賱胤亘丕毓 賵丕賱兀賮賰丕乇 賵丕賱鬲兀乇噩丨 賮賷 丕賱賲卮丕毓乇 賵廿賱丨丕丨 丕賱兀賲賴丕鬲 賴賷 爻賲丕鬲 丕賱乇賵丕賷丞 賵噩夭亍 賲賳 兀爻丕爻 丕賱爻乇丿
賱乇亘賲丕 鬲兀孬乇鬲 賰孬賷乇丕 亘賭 乇丕賮丕賷賷賱賱丕 :) 鬲賱賰 丕賱鬲賷 鬲睾賷乇鬲 賯賳丕毓丕鬲賴丕 賵兀賮賰丕乇賴丕 亘賲噩乇丿 丕賱夭賵丕噩 賵丕賱丕賳噩丕亘 ... 賵鬲兀孬乇鬲 亘賭 鬲賵賲丕夭賷賳賵 賵兀賮賰丕乇賴 兀賷囟丕 ... 賰丕賳 乇賵賲丕賳爻賷丕 乇睾賲丕 毓賳賴 賵丨鬲賶 賲毓 賳賮賷賴 賱匕賱賰 :)
兀丨亘亘鬲 賴匕賴 丕賱乇賵丕賷丞 丕賱賴丕丿卅丞 ... 鬲禺賷賱鬲 兀賳賳賷 毓賳丿賲丕 鬲乇賰鬲賴丕 賱丕賳卮睾丕賱賷 亘賲匕丕賰乇丞 兀胤賮丕賱賷 兀賳賳賷 賱賳 兀毓賵丿 賱賴丕 賵賱賰賳 賲毓 毓賵丿鬲賷 賱賯乇丕亍丞 爻胤賵乇賴丕 廿賱鬲賴賲鬲 鬲賱賰 丕賱爻胤賵乇 亘賳賴賲 卮丿賷丿 馃 ... 賲賲鬲毓丞 :)
May 23, 2021
A person at a certain moment will not look his own soul in the face any more. Because he is afraid, if he looks it in the face, of not having the courage to go on living any more.
If you enjoy novels where the true story appears sparingly in dialogue, this short Ginzburg novel is the one for you.
Lately, I've found myself revisiting authors. I recently read and loved All Our Yesterdays and I needed to try another Ginzburg read.
This novel is short and cryptic. I would recommend the version with the introduction by Colm T贸ib铆n for his close reading and explanation of this intricate novel. The novel begins and ends with a conversation between mother and daughter. The dialogue, however, is uniquely structured and occurs like a monologue. Part of this is to show the estrangement of the daughter from her mother's way of thinking, her mother's customs, the customs of the small village. The hypochondriac mother loves that she can boast of children who are married and live in various parts of the world, yet she has this daughter who refuses to marry or live on another continent. She fears her daughter will become an outcast.
If you dislike dialogue as subtle as this one referenced, you won't enjoy this novel. In some ways it reminded me of a play. In other ways, it was reminiscent of abstract art. Abstract art bothers most, yet I'm a fan of the art form for the many ways it can be both subtle and bold. I only wish Elsa and Tommasino were a focus in this novel. Instead, they appear among a slew of characters with various entanglements emerging postwar . They appear as snippets, as representatives of their families, post WWII. Sure, there is a section dedicated to them, but mostly, so many other characters in the town are introduced, some so swiftly they're forgetful. These characters appear as voices in the evening: the closed-door voices of families in Castello, the whispered conversation of friends, the gossip of the town, the pained, but brief dialogue they exchange.
If you enjoy novels where the true story appears sparingly in dialogue, this short Ginzburg novel is the one for you.
Lately, I've found myself revisiting authors. I recently read and loved All Our Yesterdays and I needed to try another Ginzburg read.
This novel is short and cryptic. I would recommend the version with the introduction by Colm T贸ib铆n for his close reading and explanation of this intricate novel. The novel begins and ends with a conversation between mother and daughter. The dialogue, however, is uniquely structured and occurs like a monologue. Part of this is to show the estrangement of the daughter from her mother's way of thinking, her mother's customs, the customs of the small village. The hypochondriac mother loves that she can boast of children who are married and live in various parts of the world, yet she has this daughter who refuses to marry or live on another continent. She fears her daughter will become an outcast.
If you dislike dialogue as subtle as this one referenced, you won't enjoy this novel. In some ways it reminded me of a play. In other ways, it was reminiscent of abstract art. Abstract art bothers most, yet I'm a fan of the art form for the many ways it can be both subtle and bold. I only wish Elsa and Tommasino were a focus in this novel. Instead, they appear among a slew of characters with various entanglements emerging postwar . They appear as snippets, as representatives of their families, post WWII. Sure, there is a section dedicated to them, but mostly, so many other characters in the town are introduced, some so swiftly they're forgetful. These characters appear as voices in the evening: the closed-door voices of families in Castello, the whispered conversation of friends, the gossip of the town, the pained, but brief dialogue they exchange.
September 3, 2023
睾乇賷亘丞 亘爻 丨亘賷鬲賴丕
May 14, 2025
Deceptively light because the delicate, soft bits get buried deep so that breathing can continue and a step can be taken, one after another. But if the soft bits are buried, what is left? The stories created a la鈥� the narrator鈥檚 mother? Are these stories fiction or truth or a mixture.
Ginzburg gives us the perspective of a narrator who is dry and factual and her mother who needs her stories to be full and rounded, to have each character tied up neatly with a bow ready for consumption.
After giving us the facts and the stories of the people living around her, showing how one thing leads to another, Elsa the narrator tries to make her own story, trying it out in her mother鈥檚 way but seeing that she cannot as that would mean the death of her facts, her truths. The conundrum is that although yes things can be buried, not to be seen, like poor Nebbia, their ghosts remain and effect the stories and the life.
We can see that the narrator is able to see what鈥檚 there in front of her, even the buried soft bits. She is also able to see what happens when the soft bits are not acknowledged but are wedged in to conform within a 鈥榥icer鈥� frame. What is she going to do with all this seeing? Can she use it when making out her own frame? Will she go for the surface picture, the nice one? Or for the truer picture with its soft, delicate bits, which not everyone is able to see.
Ginzburg gives us the perspective of a narrator who is dry and factual and her mother who needs her stories to be full and rounded, to have each character tied up neatly with a bow ready for consumption.
After giving us the facts and the stories of the people living around her, showing how one thing leads to another, Elsa the narrator tries to make her own story, trying it out in her mother鈥檚 way but seeing that she cannot as that would mean the death of her facts, her truths. The conundrum is that although yes things can be buried, not to be seen, like poor Nebbia, their ghosts remain and effect the stories and the life.
We can see that the narrator is able to see what鈥檚 there in front of her, even the buried soft bits. She is also able to see what happens when the soft bits are not acknowledged but are wedged in to conform within a 鈥榥icer鈥� frame. What is she going to do with all this seeing? Can she use it when making out her own frame? Will she go for the surface picture, the nice one? Or for the truer picture with its soft, delicate bits, which not everyone is able to see.
May 31, 2018
"賮賷 丕賱丨賷丕丞 賰孬賷乇 賲賳 丕賱兀卮賷丕亍 丕賱丨夭賷賳丞.賱賲丕匕丕 賳賯乇兀 丕賱乇賵丕賷丕鬲責 兀賱賷爻鬲 丕賱丨賷丕丞 賳賮爻賴丕 乇賵丕賷丞責"
睾乇賷亘丞 賵賲賲鬲毓丞 賴匕賴 丕賱乇賵丕賷丞
丕賱兀氐賵丕鬲 賮賷賴丕 賰孬賷乇丞貙 賵丕賱丨賵丕乇丕鬲 賯氐賷乇丞 賵賲亘丕卮乇丞 賵丨賲賷賲賷丞貙 鬲賴鬲購 賯賱賷賱丕賸 囟賲賳 卮賱丕賱 丕賱兀爻賲丕亍 丕賱廿賷胤丕賱賷丞 丕賱睾乇賷亘丞貙 賵鬲賴鬲購 賯賱賷賱丕賸 賮賷 丕賱乇亘胤 亘賷賳 丕賱卮禺氐賷丕鬲貙 賱賰賳 亘毓丿 賲賳鬲氐賮賴丕 兀氐亘丨鬲 賵丕囟丨丞.
"賮賷 賱丨馗丞 賲丕 賱丕 賷乇睾亘 丕賱賲乇亍 賮賷 賲賵丕噩賴丞 賲丕賮賷 兀毓賲丕賯 賳賮爻賴 賱兀賳賴 賷卮毓乇 亘丕賱禺賵賮 亘兀賳賴 廿匕丕 賵丕噩賴賴 賮賱賳 賷噩丿 亘毓丿 匕賱賰 兀賷 賯丿乇丞 賱賱丕爻鬲賲乇丕乇 毓賱賶 賯賷丿 丕賱丨賷丕丞".
"賱丕 鬲賵噩丿 亘丿丕禺賱賷 卮丨賳丞 丨賷丕丞 丨賯賷賯賷丞.賴匕丕 賴賵 丕賱卮賷亍 丕賱匕賷 兀賮鬲賯丿賴 賰孬賷乇丕賸.兀卮毓乇 兀賳賳賷 賱爻鬲購 爻賵賶 乇毓卮丞 賲賳 丕賱囟噩乇 毓賳丿賲丕 兀丨丕賵賱 兀賳 兀賮毓賱 卮賷卅丕. 兀乇睾亘 賮賷 兀賳 兀賯賵賲 亘卮賷亍 賵兀氐丕亘 亘鬲賱賰 丕賱乇毓卮丞 卮禺氐 丌禺乇 乇亘賲丕 賱丕 賷購賱賯賷 亘丕賱丕賸 亘乇毓卮丞 賲孬賱 賴匕賴 賵賷賳爻丕賴丕 毓賱賶 丕賱賮賵乇. 兀賲丕 兀賳丕 賮兀丨賲賱賴丕 胤賵賷賱丕 賮賷 賯賱亘賷"
丕賱丨賵丕乇 丕賱兀禺賷乇 亘賷賳 ( 廿賱爻丕) 賵(鬲賵賲丕夭賷賳賵) 賱賲爻賳賷 噩丿丕賸 賵噩毓賱賳賷 兀賮賰乇 賰孬賷乇丕賸 賮賷 丕禺鬲賷丕乇丕鬲賷 賵乇睾亘丕鬲賷 賵賯乇丕乇鬲賷
賳丨賳 賳賮毓賱 賲丕 賷鬲賵賯毓賴 丕賱丌禺乇賷賳 賲賳丕 賱賳賰賵賳 賲孬賱賴賲.
賲丨賲賱賷賳 亘孬賯賱 丕賱夭賲丕賳 賵丕賱賲賰丕賳 賵丕賱乇丕丨賱賷賳 賯亘賱賳丕.
賱丕 丕賱匕賰乇賷丕鬲 賱賴丕 賯丿乇丞 毓賱賶 賲賳丨賳丕 丕賱爻毓丕丿丞 賵賱丕 丕賱賲丕賱 賯丕丿乇 毓賱賶 鬲亘丿賷丿 丕賱賵丨卮丞 丕賱丿丕禺賱賷丞 丕賱鬲賷 鬲兀賰賱賳丕
賱丕 兀丿乇賷 賱賲賻 兀卮毓乇購 亘丨夭賳賺 丿賮賷賳 賮賷 賯氐氐 丕賱廿賷胤丕賱賷賷賳 賵孬乇孬乇丕鬲賴賲!
兀毓噩亘鬲賳賷 亘卮丿丞 賵兀丨亘亘鬲賴丕 丨賯丕賸 賵賮賽賷 丕賱賳賴丕賷丞 兀乇丿丿 賲毓 廿賱賷爻丕 賯賵賱賴丕:
"賵賱賰賳 賱賲丕匕丕責 賱賲丕匕丕 丿賲乇賳丕 賰賱 卮賷亍責!"
賷亘丿賵 兀賳賳丕 賳賮毓賱 匕賱賰 丿賵賲丕賸 丿賵賳 兀賳 賳卮毓乇.
睾乇賷亘丞 賵賲賲鬲毓丞 賴匕賴 丕賱乇賵丕賷丞
丕賱兀氐賵丕鬲 賮賷賴丕 賰孬賷乇丞貙 賵丕賱丨賵丕乇丕鬲 賯氐賷乇丞 賵賲亘丕卮乇丞 賵丨賲賷賲賷丞貙 鬲賴鬲購 賯賱賷賱丕賸 囟賲賳 卮賱丕賱 丕賱兀爻賲丕亍 丕賱廿賷胤丕賱賷丞 丕賱睾乇賷亘丞貙 賵鬲賴鬲購 賯賱賷賱丕賸 賮賷 丕賱乇亘胤 亘賷賳 丕賱卮禺氐賷丕鬲貙 賱賰賳 亘毓丿 賲賳鬲氐賮賴丕 兀氐亘丨鬲 賵丕囟丨丞.
"賮賷 賱丨馗丞 賲丕 賱丕 賷乇睾亘 丕賱賲乇亍 賮賷 賲賵丕噩賴丞 賲丕賮賷 兀毓賲丕賯 賳賮爻賴 賱兀賳賴 賷卮毓乇 亘丕賱禺賵賮 亘兀賳賴 廿匕丕 賵丕噩賴賴 賮賱賳 賷噩丿 亘毓丿 匕賱賰 兀賷 賯丿乇丞 賱賱丕爻鬲賲乇丕乇 毓賱賶 賯賷丿 丕賱丨賷丕丞".
"賱丕 鬲賵噩丿 亘丿丕禺賱賷 卮丨賳丞 丨賷丕丞 丨賯賷賯賷丞.賴匕丕 賴賵 丕賱卮賷亍 丕賱匕賷 兀賮鬲賯丿賴 賰孬賷乇丕賸.兀卮毓乇 兀賳賳賷 賱爻鬲購 爻賵賶 乇毓卮丞 賲賳 丕賱囟噩乇 毓賳丿賲丕 兀丨丕賵賱 兀賳 兀賮毓賱 卮賷卅丕. 兀乇睾亘 賮賷 兀賳 兀賯賵賲 亘卮賷亍 賵兀氐丕亘 亘鬲賱賰 丕賱乇毓卮丞 卮禺氐 丌禺乇 乇亘賲丕 賱丕 賷購賱賯賷 亘丕賱丕賸 亘乇毓卮丞 賲孬賱 賴匕賴 賵賷賳爻丕賴丕 毓賱賶 丕賱賮賵乇. 兀賲丕 兀賳丕 賮兀丨賲賱賴丕 胤賵賷賱丕 賮賷 賯賱亘賷"
丕賱丨賵丕乇 丕賱兀禺賷乇 亘賷賳 ( 廿賱爻丕) 賵(鬲賵賲丕夭賷賳賵) 賱賲爻賳賷 噩丿丕賸 賵噩毓賱賳賷 兀賮賰乇 賰孬賷乇丕賸 賮賷 丕禺鬲賷丕乇丕鬲賷 賵乇睾亘丕鬲賷 賵賯乇丕乇鬲賷
賳丨賳 賳賮毓賱 賲丕 賷鬲賵賯毓賴 丕賱丌禺乇賷賳 賲賳丕 賱賳賰賵賳 賲孬賱賴賲.
賲丨賲賱賷賳 亘孬賯賱 丕賱夭賲丕賳 賵丕賱賲賰丕賳 賵丕賱乇丕丨賱賷賳 賯亘賱賳丕.
賱丕 丕賱匕賰乇賷丕鬲 賱賴丕 賯丿乇丞 毓賱賶 賲賳丨賳丕 丕賱爻毓丕丿丞 賵賱丕 丕賱賲丕賱 賯丕丿乇 毓賱賶 鬲亘丿賷丿 丕賱賵丨卮丞 丕賱丿丕禺賱賷丞 丕賱鬲賷 鬲兀賰賱賳丕
賱丕 兀丿乇賷 賱賲賻 兀卮毓乇購 亘丨夭賳賺 丿賮賷賳 賮賷 賯氐氐 丕賱廿賷胤丕賱賷賷賳 賵孬乇孬乇丕鬲賴賲!
兀毓噩亘鬲賳賷 亘卮丿丞 賵兀丨亘亘鬲賴丕 丨賯丕賸 賵賮賽賷 丕賱賳賴丕賷丞 兀乇丿丿 賲毓 廿賱賷爻丕 賯賵賱賴丕:
"賵賱賰賳 賱賲丕匕丕責 賱賲丕匕丕 丿賲乇賳丕 賰賱 卮賷亍責!"
賷亘丿賵 兀賳賳丕 賳賮毓賱 匕賱賰 丿賵賲丕賸 丿賵賳 兀賳 賳卮毓乇.
April 17, 2022
I could just rate this book and leave it at that鈥攊t is not fun writing reviews of books you dislike! Doing so is less of a pain but the wrong approach. The whole idea of the GR forum is for fellow readers to share their views on the books they read. We should help each other find books that fill our individual preferences. What fits one reader may not fit another. For this reason, it is essential to explain why you rate as you do. This is as important for the bad books as the good. I want to help other prospective readers, so here goes.
The main reason why I have not enjoyed this book is that the story is TOLD; little is shown. Dialogs are few, brief and they do not flow naturally. The same can be said for descriptions. Readers are told he did that, and she did that, and then he did that. On and on and on. Or, he said that and she said that鈥攖hese are not conversations!
The story takes place over one year鈥擮ctober through October of the following year. The story follow a large Italian family consisting of brothers and sisters and aunts and uncles and each one鈥檚 respective e spouse. We are TOLD what they do but little comes across in relation to what kind of person they are. We are occasionally told X is cheerful, Y is melancholy and X smart, but we are given little evidence of why such statements are true. The only person for whom I recognized a character trait is the narrator鈥檚 mother. She continually gripes about her health. We are told umpteen times that she has a lump in her throat and that the doctor told her she had high blood pressure, having always had low blood pressure before. Almost the exact same words are used over and over again. In this respect, the writing is repetitive. What we are told about the characters is primarily what they do. In a novel, I want to observe the decisions characters make. This helps me form an opinion about who they are. I like character studies鈥攜ou do not get that here. There are too many characters and too little information is provided about each. The information provided is told rather than shown.
A final complaint鈥攚e are supposed to see this as a book of historical fiction drawing life in Italy during the Second World War with a particular focus upon the detrimental aspects of fascism. I don鈥檛 think this comes through at all!
The audiobook begins with an introduction, an author鈥檚 note and a translator鈥檚 note. These feel like fillers in an effort to make a short story longer. The introduction should be placed at the end. I don鈥檛 want to be told what to think until after I have drawn my own conclusions.
The translator of the book is D.M. Low. Could the choppy, unnuanced prose be the fault of the translation? This is of course possible.
I promise you, I am not exaggerating! The 鈥渉e did this, she did that and he said this and she said that鈥� are impossible to not notice. The prose is dry, stilted, repetitive and without flair.
Rosie Jones narrates the audiobook. Her narration is fine. I do not think it fair to blame her for the unpleasant reading experience. The narration I have given three stars鈥攊t is good. There is nothing to complain about here.
The main reason why I have not enjoyed this book is that the story is TOLD; little is shown. Dialogs are few, brief and they do not flow naturally. The same can be said for descriptions. Readers are told he did that, and she did that, and then he did that. On and on and on. Or, he said that and she said that鈥攖hese are not conversations!
The story takes place over one year鈥擮ctober through October of the following year. The story follow a large Italian family consisting of brothers and sisters and aunts and uncles and each one鈥檚 respective e spouse. We are TOLD what they do but little comes across in relation to what kind of person they are. We are occasionally told X is cheerful, Y is melancholy and X smart, but we are given little evidence of why such statements are true. The only person for whom I recognized a character trait is the narrator鈥檚 mother. She continually gripes about her health. We are told umpteen times that she has a lump in her throat and that the doctor told her she had high blood pressure, having always had low blood pressure before. Almost the exact same words are used over and over again. In this respect, the writing is repetitive. What we are told about the characters is primarily what they do. In a novel, I want to observe the decisions characters make. This helps me form an opinion about who they are. I like character studies鈥攜ou do not get that here. There are too many characters and too little information is provided about each. The information provided is told rather than shown.
A final complaint鈥攚e are supposed to see this as a book of historical fiction drawing life in Italy during the Second World War with a particular focus upon the detrimental aspects of fascism. I don鈥檛 think this comes through at all!
The audiobook begins with an introduction, an author鈥檚 note and a translator鈥檚 note. These feel like fillers in an effort to make a short story longer. The introduction should be placed at the end. I don鈥檛 want to be told what to think until after I have drawn my own conclusions.
The translator of the book is D.M. Low. Could the choppy, unnuanced prose be the fault of the translation? This is of course possible.
I promise you, I am not exaggerating! The 鈥渉e did this, she did that and he said this and she said that鈥� are impossible to not notice. The prose is dry, stilted, repetitive and without flair.
Rosie Jones narrates the audiobook. Her narration is fine. I do not think it fair to blame her for the unpleasant reading experience. The narration I have given three stars鈥攊t is good. There is nothing to complain about here.
November 30, 2024
Cara Natalia,
mi piace moltissimo, l鈥檋o letto tutto di seguito, 猫 il pi霉 bel romanzo che hai scritto.
Questo senso delle storie familiari, l鈥檌ntrecciarsi delle storie delle famiglie, 猫 una cosa che ormai ce l鈥檋ai soltanto tu. E il senso dei vecchi, e del venire su dei giovani, e del come vengono su, dolorosamente. Triste, triste da morire. M鈥檋a buttato gi霉 completamente.
Il pranzo di Tommasino a casa di lei 猫 il punto pi霉 bello. Tutto cos矛 chiaro, la sofferenza di lei a sentire tutto il dialogo, senza mai che sia detto.
Questa madre che incombe su tutto il libro senza che sentiamo altro che questo suo tremendo parlare, 猫 formidabile.
Tutta la storia del fidanzamento, e quell鈥檃ddio, cos矛 raccontato bene tutto il morire della cosa, solo attraverso le battute del dialogo, senza mai una battuta d鈥檌ntrospezione o commento psicologico. Un modello di condotta narrativa, di un rigore perfetto.
Calvino
鈥淓 anche tu non hai mica un bel colore, Tommasino鈥�, disse mia madre. 鈥淪ei sempre un po鈥� pallido. Posso dirtelo, sono una mamma. Sei sempre un po鈥� pallido. Forse 猫 la vita sedentaria che fai".
鈥淚o son cos矛 di colore鈥�, disse il Tommasino.
鈥淣o, non sei cos矛 di colore. Da bambino eri bianco e rosso, una mela鈥�.
鈥淓 allora una delle bimbe Bottiglia 猫 fidanzata?鈥� disse il Tommasino.
鈥淎h le chiami bimbe Bottiglia anche te?鈥� disse mia madre. 鈥淐redevo che le chiamassimo cos矛 solo noi, qua in casa. Non sono pi霉 delle bimbe, purtroppo鈥�.
鈥淧erch茅 purtroppo?鈥� disse mio padre.
鈥淧urtroppo鈥�, disse mia madre, 鈥減erch茅 non sono ancora sposate. Per una donna, il matrimonio, 猫 il destino pi霉 bello, un matrimonio felice. Non disgraziato, senn貌 meglio niente, si sa. Tu, Tommasino, hai avuto la triste esperienza di un matrimonio disgraziato, nella tua famiglia. Il povero Vincenzino鈥�.
鈥淓 forse 猫 per questo鈥�, disse, 鈥渃he ancora non ti sposi. Vuoi riflettere a lungo, hai ragione. Del resto, come uomo, sei ancora molto giovane鈥�.
鈥淚o鈥�, disse la zia Ottavia, 鈥渘on mi sono sposata, e sono contenta cos矛鈥�.
鈥淭u鈥�, disse mia madre, 鈥減er il matrimonio non eri tagliata. Ti piace troppo fare i tuoi comodi鈥�.
鈥淚 miei comodi? e quando mai faccio i miei comodi?鈥� disse la zia Ottavia.
mi piace moltissimo, l鈥檋o letto tutto di seguito, 猫 il pi霉 bel romanzo che hai scritto.
Questo senso delle storie familiari, l鈥檌ntrecciarsi delle storie delle famiglie, 猫 una cosa che ormai ce l鈥檋ai soltanto tu. E il senso dei vecchi, e del venire su dei giovani, e del come vengono su, dolorosamente. Triste, triste da morire. M鈥檋a buttato gi霉 completamente.
Il pranzo di Tommasino a casa di lei 猫 il punto pi霉 bello. Tutto cos矛 chiaro, la sofferenza di lei a sentire tutto il dialogo, senza mai che sia detto.
Questa madre che incombe su tutto il libro senza che sentiamo altro che questo suo tremendo parlare, 猫 formidabile.
Tutta la storia del fidanzamento, e quell鈥檃ddio, cos矛 raccontato bene tutto il morire della cosa, solo attraverso le battute del dialogo, senza mai una battuta d鈥檌ntrospezione o commento psicologico. Un modello di condotta narrativa, di un rigore perfetto.
Calvino
鈥淓 anche tu non hai mica un bel colore, Tommasino鈥�, disse mia madre. 鈥淪ei sempre un po鈥� pallido. Posso dirtelo, sono una mamma. Sei sempre un po鈥� pallido. Forse 猫 la vita sedentaria che fai".
鈥淚o son cos矛 di colore鈥�, disse il Tommasino.
鈥淣o, non sei cos矛 di colore. Da bambino eri bianco e rosso, una mela鈥�.
鈥淓 allora una delle bimbe Bottiglia 猫 fidanzata?鈥� disse il Tommasino.
鈥淎h le chiami bimbe Bottiglia anche te?鈥� disse mia madre. 鈥淐redevo che le chiamassimo cos矛 solo noi, qua in casa. Non sono pi霉 delle bimbe, purtroppo鈥�.
鈥淧erch茅 purtroppo?鈥� disse mio padre.
鈥淧urtroppo鈥�, disse mia madre, 鈥減erch茅 non sono ancora sposate. Per una donna, il matrimonio, 猫 il destino pi霉 bello, un matrimonio felice. Non disgraziato, senn貌 meglio niente, si sa. Tu, Tommasino, hai avuto la triste esperienza di un matrimonio disgraziato, nella tua famiglia. Il povero Vincenzino鈥�.
鈥淓 forse 猫 per questo鈥�, disse, 鈥渃he ancora non ti sposi. Vuoi riflettere a lungo, hai ragione. Del resto, come uomo, sei ancora molto giovane鈥�.
鈥淚o鈥�, disse la zia Ottavia, 鈥渘on mi sono sposata, e sono contenta cos矛鈥�.
鈥淭u鈥�, disse mia madre, 鈥減er il matrimonio non eri tagliata. Ti piace troppo fare i tuoi comodi鈥�.
鈥淚 miei comodi? e quando mai faccio i miei comodi?鈥� disse la zia Ottavia.
October 9, 2021
"Le voci della sera 猫 una storia di persone che cercano di sotterrare i pensieri, d鈥檌dentificarsi soltanto nei gesti che compiono e nelle parole che dicono e finiscono per ritrovarsi strette in una morsa di assurdit脿 e di dolore" (Italo Calvino)
La malinconia governa queste pagine e lo stile asciutto della Ginzburg -poche descrizioni, molti dialoghi, ritmo serrato- favorisce la progressiva immersione nelle atmosfere di paese (piemontese, chiuso, valligiano) dove i vari personaggi si muovono fra i salotti di casa, le strade deserte, la fabbrica del Balotta e della sua facoltosa famiglia.
Attraverso il racconto di Elsa, che consuma in solitudine il suo infelice amore per il Tommasino, sfidando inutilmente le convenzioni sociali, entriamo in contatto con un vociare diffuso e uniforme che rispecchia il pettegolo clima paesano e la mentalit脿 comune a tutti i suoi abitanti.
Da cui si distacca la narratrice, figura femminile tipica: riservata, schiva, portatrice di valori che tuttavia non possono contrapporsi alla forza inerziale della famiglia e del contesto con tutte le sue arcaiche convinzioni.
Ma ogni personaggio viene individuato e circoscritto: ha la sua storia e compie il suo destino che intreccia la storia e il destino del tempo in cui si trova a vivere (il fascismo, la guerra, il dopoguerra), uno sfondo che ha senso solo per come incide e trasforma le vite individuali.
Le voci pi霉 consapevoli (Elsa, Tommasino) infine si spengono nella mestizia:
鈥淪tiamo quasi sempre zitti, ora, insieme. Ce ne stiamo quasi sempre zitti, perch茅 abbiamo cominciato a sotterrare i nostri pensieri, bene in fondo, bene in fondo dentro di noi. Poi, quando riprenderemo a parlare, diremo solo delle cose inutili.鈥�
Le altre, invece, continueranno i loro soliti, insulsi monologhi che dileguando nella sera spegneranno via via la speranza di una vita veramente felice.
La malinconia governa queste pagine e lo stile asciutto della Ginzburg -poche descrizioni, molti dialoghi, ritmo serrato- favorisce la progressiva immersione nelle atmosfere di paese (piemontese, chiuso, valligiano) dove i vari personaggi si muovono fra i salotti di casa, le strade deserte, la fabbrica del Balotta e della sua facoltosa famiglia.
Attraverso il racconto di Elsa, che consuma in solitudine il suo infelice amore per il Tommasino, sfidando inutilmente le convenzioni sociali, entriamo in contatto con un vociare diffuso e uniforme che rispecchia il pettegolo clima paesano e la mentalit脿 comune a tutti i suoi abitanti.
Da cui si distacca la narratrice, figura femminile tipica: riservata, schiva, portatrice di valori che tuttavia non possono contrapporsi alla forza inerziale della famiglia e del contesto con tutte le sue arcaiche convinzioni.
Ma ogni personaggio viene individuato e circoscritto: ha la sua storia e compie il suo destino che intreccia la storia e il destino del tempo in cui si trova a vivere (il fascismo, la guerra, il dopoguerra), uno sfondo che ha senso solo per come incide e trasforma le vite individuali.
Le voci pi霉 consapevoli (Elsa, Tommasino) infine si spengono nella mestizia:
鈥淪tiamo quasi sempre zitti, ora, insieme. Ce ne stiamo quasi sempre zitti, perch茅 abbiamo cominciato a sotterrare i nostri pensieri, bene in fondo, bene in fondo dentro di noi. Poi, quando riprenderemo a parlare, diremo solo delle cose inutili.鈥�
Le altre, invece, continueranno i loro soliti, insulsi monologhi che dileguando nella sera spegneranno via via la speranza di una vita veramente felice.
July 15, 2017
兀鬲毓乇賮賷賳.責! 賱丕 鬲賵噩丿 亘丿丕禺賱賷 卮丨賳丞 丨賷丕丞 丨賯賷賯賷丞. 賴匕丕 賴賵 丕賱卮卅 丕賱匕賷 兀賮鬲賯丿賴 賰孬賷乇丕. 兀卮毓乇 兀賳賳賷 賱爻鬲 爻賵賷 乇毓卮丞 賲賳 丕賱囟噩乇. 毓賳丿賲丕 兀丨丕賵賱 兀賳 兀賮毓賱 卮賷卅丕 . 兀乇睾亘 賮賷 兀賳 兀賯賵賲 亘卮卅 丌禺乇. 賵兀氐丕亘 亘鬲賱賰 丕賱乇毓卮丞. 卮禺氐丕 丌禺乇 乇亘賲丕 賱丕 賷賱賯賷 亘丕賱丕 亘乇毓卮丞 賲孬賱 賴匕賴..賵賷賳爻丕賴丕 毓賱賷 丕賱賮賵乇. 兀賲丕 兀賳丕 賮兀丨賲賱賴丕 胤賵賷賱丕 賮賷 賯賱亘賷.
March 16, 2019
芦Disse: - Ci sono tante cose tristi nella vita. Perch茅 leggere romanzi? Non 猫 un romanzo, la vita?禄
September 22, 2021
Exquisite writing style: spare, precise, no-nonsense. Add to that a fascinating story describing, mainly through the relationships involving members of the "leading family", the happenings in an Italian village from the 1930's until well after the war. As good as A Family Lexicon, in my opinion.
See this review, or this superb one for more information. Needless to say, I wholeheartedly agree with the former's conclusion that "this short novel is a delight from beginning to end".
November 19, 2022
賯乇兀鬲賴丕 賮賷 賷賵賲 亘毓丿 賰鬲丕亘 鬲乇賰鬲賴 亘毓丿賲丕 賰鬲賲 賳賮賻爻賷
兀孬丕乇鬲 鬲賮賰賷乇賷 賱兀賳賴丕 賱丕 鬲賱鬲夭賲 亘兀賷 賲賳 賯賵丕毓丿 丕賱賰鬲丕亘丞 (丕賱鬲賷 兀毓乇賮賴丕) 賵賲毓 賴匕丕 丨賱賵丞
丕賱鬲乇噩賲丞 噩賷丿丞 噩丿丕
兀孬丕乇鬲 鬲賮賰賷乇賷 賱兀賳賴丕 賱丕 鬲賱鬲夭賲 亘兀賷 賲賳 賯賵丕毓丿 丕賱賰鬲丕亘丞 (丕賱鬲賷 兀毓乇賮賴丕) 賵賲毓 賴匕丕 丨賱賵丞
丕賱鬲乇噩賲丞 噩賷丿丞 噩丿丕
November 6, 2021
I delayed and delayed writing this review because after reading Happiness As Such - which I enjoyed immensely I was very disappointed with this. Yes - it is beautifully written. It captures human experiences in moments of complete accuracy - which only very gifted writers manage. BUT - and it is a big but - it is so sad. As far as I can see there is no reason at all why reticent lovers Elsa and Tommasino -cannot "get it together" - for lack of a better phrase. It is only one part of the story - the book as a whole reviews the history of Elsa and Tommasino's two families. I suppose we are to understand that these two individuals are powerless within the structures and tradition of their families.
I read this story when I was in love with To - I still am - there are such beautiful moments in this book which capture exactly those fleetingly intense feelings of "being in love". But we all know life is a compromise - we don't live our everyday lives on this elevated plane - but I suppose that is fiction for you. Ginzberg is writing very much in the Romantic Tradition - she's read her Shelley, Yeats, Byron, Flaubert - etc, etc. Probably plenty of Italian writers too - and she lived through the trauma of the Italian Fascist forces during World War II - when her husband was imprisoned and tortured to death. This of course provides a major clash between the high ideals of the Romantics and the modernist horrors of 20th Century Europe -the highs and lows of what humans are capable of. Ginzburg is a true writer because she is aware of the history of writers - she writes as all great writers must from her own individual experience but also from a cultural/historical perspective.
Me - as an individual of 2021 - safely separated from the horrors of World War II, I am much more in favour of Individual Choice. We are able to control our individual destiny with choice. I choose to love; it is possible for me to adapt, to live within the constraints and liberties of my present time.
But I am saddened by this book - and very reluctant to pick it up again.
I read this story when I was in love with To - I still am - there are such beautiful moments in this book which capture exactly those fleetingly intense feelings of "being in love". But we all know life is a compromise - we don't live our everyday lives on this elevated plane - but I suppose that is fiction for you. Ginzberg is writing very much in the Romantic Tradition - she's read her Shelley, Yeats, Byron, Flaubert - etc, etc. Probably plenty of Italian writers too - and she lived through the trauma of the Italian Fascist forces during World War II - when her husband was imprisoned and tortured to death. This of course provides a major clash between the high ideals of the Romantics and the modernist horrors of 20th Century Europe -the highs and lows of what humans are capable of. Ginzburg is a true writer because she is aware of the history of writers - she writes as all great writers must from her own individual experience but also from a cultural/historical perspective.
Me - as an individual of 2021 - safely separated from the horrors of World War II, I am much more in favour of Individual Choice. We are able to control our individual destiny with choice. I choose to love; it is possible for me to adapt, to live within the constraints and liberties of my present time.
But I am saddened by this book - and very reluctant to pick it up again.
November 30, 2019
乇賵丕賷丞 賱胤賷賮丞 兀卮亘賴 亘孬乇孬乇丞 賲爻丕卅賷丞 賴丕丿卅丞貙 鬲賲鬲夭噩 賮賷賴丕 賯氐氐 賲噩賲賵毓丞 賲賳 丕賱兀卮禺丕氐 賵爻乇丿 賱丨賷丕鬲賴賲 賵賲氐丕卅乇賴賲 賵毓賱丕賯丕鬲賴賲 賵賲卮丕毓乇賴賲貙 賲丕 賷卮毓乇賵賳貙 賵賲丕 賷乇賷丿賵賳貙 賵賲丕 賷賮毓賱賵賳.
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