(Book by Pavese, Professor Cesare)
Book by Pavese, Professor Cesare
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( Cesare Pavese was one of Italys great post-war writers...)
Cesare Pavese was one of Italys great post-war writers. His poetry was revolutionaryboth artistically and politicallyrejecting the verbal and philosophical constraints of tradition and utilizing direct, colloquial language. His subjects were peasants, hobos, and prostitutes, and this bilingual volume includes all the poetry Pavese ever published, including work originally deleted by Fascist censors. A landmark volume. Cesare Pavese (1908-50) was a novelist, poet, and translator and a major literary figure in post-war Italy. He brought American influence to Italian literature through his translations. Paveses flight from the Fascists and subsequent confinement were reflected in his writings, which dealt with social struggle and revealed his sympathy for the oppressed. He committed suicide at the height of his literary powers. A Kage-an Series Book
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(Winner of the 2003 PEN/Book-of-the-Month Club Translation...)
Winner of the 2003 PEN/Book-of-the-Month Club Translation Prize A NEW YORK REVIEW BOOKS ORIGINAL The nameless narrator of The Moon and the Bonfires, Cesare Pavese's last and greatest novel, returns to Italy from California after the Second World War. He has done well in America, but success hasn't taken the edge off his memories of childhood, when he was an orphan living at the mercy of a bitterly poor farmer. He wants to learn what happened in his native village over the long, terrible years of Fascism; perhaps, he even thinks, he will settle down. And yet as he uncovers a secret and savage history from the wara tale of betrayal and reprisal, sex and deathhe finds that the past still haunts the present. The Moon and the Bonfires is a novel of intense lyricism and tragic import, a masterpiece of twentieth-century literature that has been unavailable to American readers for close to fifty years. Here it appears in a vigorous new English version by R. W. Flint, whose earlier translations of Pavese's fiction were acclaimed by Leslie Fiedler as "absolutely lucid and completely incantatory."
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("There is only one pleasure, that of being alive. All the...)
"There is only one pleasure, that of being alive. All the rest is misery," wrote Cesare Pavese, whose short, intense life spanned the ordeals of fascism and World War II to witness the beginnings of Italy's postwar prosperity. Searchingly alert to nuances of speech, feeling, and atmosphere, and remarkably varied, his novels offer a panoramic vision, at once sensual and finely considered, of a time of tumultuous change. This volume presents readers with Pavese's major works. The Beach is a wry summertime comedy of sexual and romantic misunderstandings, while The House on the Hill is an extraordinary novel of war in which a teacher flees through a countryside that is both beautiful and convulsed with terror. Among Women Only tells of a fashion designer who enters the affluent world she has always dreamed of, only to find herself caught up in an eerie dance of destruction, and The Devil in the Hills is an engaging road novel about three young men roaming the hills in high summer who stumble on mysteries of love and death.
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(Seix Barral se honra en recuperar la edición íntegra y de...)
Seix Barral se honra en recuperar la edición íntegra y definitiva de una obra básica de nuestro tiempo: El oficio de vivir, diario de Cesare Pavese. Publicada por primera vez en italiano en 1952, la obra alcanzó extraordinaria resonancia entre varias generaciones sucesivas de lectores en todo el mundo, pero sólo en 1990 apa
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(A portrait of the life of the distinguished Italian autho...)
A portrait of the life of the distinguished Italian author, Cesare Pavese, includes critical analyses of his major fiction and poetry
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( On June 23rd, 1950, Pavese, Italy's greatest modern wri...)
On June 23rd, 1950, Pavese, Italy's greatest modern writer received the coveted Strega Award for his novel Among Women Only. On August 26th, in a small hotel in his home town of Turin, he took his own life. Shortly before his death, he methodically destroyed all his private papers. His diary is all that remains and for this the contemporary reader can be grateful. Contemporary speculation attributed this tragedy to either an unhappy love aff air with the American film star Constance Dawling or his growing disillusionment with the Italian Communist Party. His Diaries, however, reveal a man whose art was his only means of repressing the specter of suicide which had haunted him since childhood: an obsession that finally overwhelmed him. As John Taylor notes, he possessed something much more precious than a political theory: a natural sensitivity to the plight and dignity of common people, be they bums, priests, grape-pickers, gas station attendants, office workers, or anonymous girls picked up on the street (though to women, the author could--as he admitted--be as misogynous as he was affectionate). Bitter and incisive, This Business of Living, is both moving and painful to read and stands with James Joyce's Letters and Andre Gide's Journals as one of the great literary testaments of the twentieth century.
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(LA LUNA Y LAS FOGATAS)
LA LUNA Y LAS FOGATAS
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critic novelist translator poet
Cesare Pavese was born on Sept. 9, 1908, at Santo Stefano Belbo in the Piedmont, the son of a lower-middle-class family of rural background. Although his family lived in Turin, Pavese never severed his childhood ties with the countryside. He lived with his parents and, after their death, with his sister's family until the end of his life.
He graduated from the University of Turin in 1930.
After University, Pavese threw himself into all manner of literary work, from producing his own poems, stories, and novels, to translating and editing English literature: Sinclair Lewis, Melville's Moby Dick (Pavese's favorite book), Sherwood Anderson, James Joyce's Dedalus, and John Dos Passos. As fascism took hold in Italy, Pavese stood in desultory attendance at meetings of diverse anti-fascist groups, remaining characteristically on the margins, and it was at these meetings that he met and fell in love with Tina Pizzardo, who was secretly a member of the Italian Communist Party. She convinced Pavese to receive certain letters for her at his address—letters from jailed anti-fascist dissident Altiero Spinelli—and, on the evidence of these letters, Pavese was arrested in 1935 and sentenced to three years incarceration at Brancaleone Calabro, in the south. Pavese served his time under house arrest, and wrote of his ordeal in Prima che il gallo canti ("Before the Cock Crows, " translated as The Political Prisoner ) in 1949. Arguably more wounding to Pavese than the prison term was his discovery, on returning to Turin, that Pizzardo had not waited for him. In the meantime, however, Pavese's first book, a collection of poems titled Lavorare stanca or "Hard Work, " had appeared in 1936, shortened by four poems deleted by fascist censors. Seven years later, Pavese would publish an expanded version nearly double the size of the original. Pavese also published four further translations during his time in prison: a second novel by John Dos Passos, the Autobiography of Alice B. Toklas by Gertrude Stein, Moll Flanders by Daniel Defoe, and one of John Steinbeck's novels. Although he did not publish any of his own work for another three years after his release, Pavese again immersed himself in literary pursuits and accumulated a sizeable cache of unpublished writings. Giulio Einaudi, a Turinese friend from his youth, had revived Italy's most prestigious publishing company, which bore his name, and Pavese not only subsequently published almost exclusively with Einaudi, but also provided some welcome editorial guidance to the company as well. Pavese's public silence during the period from 1938 to 1941 was most likely due to the ongoing subjection of the press to fascist censorship; Pavese preferred to remain silent rather than see his material edited, cut, or deleted. Instead, while continuing to write in private, he translated and shepherded into print five English language titles, including Charles Dickens' David Copperfield, the long story Beneto Cereno by Melville, and pieces by Stein, Trevelyan, and Morley. What is less well known, is that Pavese also encouraged Einaudi to publish Freud, Jung, Durkheim, and numerous other important authors and thinkers, some for the first time in Italy. Pavese broke his silence with two novels in 1941 and 1942, and released his translation of William Faulkner's The Hamlet, but it wasn't until Mussolini's demise and the end of the war in Europe that the floodgates opened for Pavese's own work. In light of the defeat of fascism in Italy, Pavese was regarded as a minority member of the side that was "right all along. " Of the three books that followed, Feria d'agosto (1946), La terra e la morte (1947), and Dialoghi con Leuco (1947), it was the latter, translated as Dialogues with Leuco in 1965, that most critics regard as Pavese's masterpiece. On August 27, he was discovered dead in his hotel room, having administered to himself a fatal dose of sleeping pills.
(Winner of the 2003 PEN/Book-of-the-Month Club Translation...)
(Seix Barral se honra en recuperar la edición íntegra y de...)
(A portrait of the life of the distinguished Italian autho...)
( On June 23rd, 1950, Pavese, Italy's greatest modern wri...)
( Cesare Pavese was one of Italys great post-war writers...)
("There is only one pleasure, that of being alive. All the...)
(Book by Pavese, Professor Cesare)
(LA LUNA Y LAS FOGATAS)
Quotations:
"Traveling is a brutality. It forces you to trust strangers and to lose sight of all that familiar comfort of home and friends. You are constantly off balance. Nothing is yours except the essential things: air, sleep, dreams, sea, the sky - all things tending towards the eternal or what we imagine of it. "
"The great lovers will always be unhappy, because for them love is great and so they ask of their beloved the same intensity of thought that they have for her – otherwise they feel betrayed. "
"The art of living is the art of knowing how to believe lies. The fearful thing about it is that, not knowing what truth may be, we can still recognize lies. "
"Life is not a search for experience, but for ourselves. Having discovered our own fundamental level we realize that it conforms to our own destiny and we find peace. "
"If it is true that one gets used to suffering, how is it that as the years go one always suffers more? No, they are not mad, those people who amuse themselves, enjoy life, travel, make love, fight they are not mad. We should like to do the same ourselves. "
"The face of the night will be an old wound that reopens each evening, impassive and living. The distant silence will ache like a soul, mute, in the dark. We'll speak to the night as it's whispering softly. "
"Certainly, to have a woman who waits at home for you, who will sleep with you, gives a warm feeling like having something you must say; it makes you glow, keeps you company, helps you to live. "
member of the Communist party
Pavese was without doubt the most universally cultured Italian writer of his generation. Shy, introspective, and suffering from numerous neuroses, he counted among the great experiences of his life his encounter with American literature and with myth, the latter becoming increasingly dominant in his work. Thus the idea of the return to the past that the artist must accomplish and the treasury of memory both play an important part in his literary approach, for which he believed he had found the answer in myth. A central theme of his work is, furthermore, the question of solitude in all its aspects. The publication dates of Pavese's works often did not coincide with their times of composition; nor did the manner of publication-many of his short novels were published collectively-necessarily indicate an internal schema. His works may be seen in the Goethean sense as "fragments of a great confession, " there being no necessity or possibility of discerning a progressive development because all his writings, in the manner of a free fugue, circle around the same themes; it was Pavese's conviction that "every authentic writer is splendidly monotonous inasmuch as there prevails in his pages a recurrent mark, a formal law of fantasy that transforms the most diverse material into figures and situations which are almost always the same. " His Poetry Pavese began his career with poetry. It was his aim to write objective expository verse of narrative character: poesia-racconto. He tended later toward imagine racconto, "image-recital, " convincing himself in the end of the "exigency of a poetry not reducible to a mere recital. " Thus, in his own words, the antilyric verse of Lavorare stanca (1936) was "an objective development of soberly expounded cases. " In a style that moves between interior monologue and discours indirect libre and in a language close to dialect or, at least, to the spoken idiom, he recounted the adventure of an adolescent proud of his country origins whose experience of the city in the end conveys only a sense of tragic solitude. Late in life Pavese returned to confessional poetry with the nine poems of La terra e la morte (1947; written 1945) and Verrà la morte e avrà i tuoi occhi (1951; written 1950). First Novels Pavese's first published novel, Paesi tuoi (1941), represents, with Elio Vittorini's Conversazione in Sicilia (1941), a point of departure for Italian neorealism. Its programmatic flouting of conventions in all possible aspects-in language, style, and theme-and its almost documentary nature set a pattern for that whole movement. The novel was based on the antinomical character of country life and city life; yet the former was not at all idealized but shown in its bare, raw, and wretched existence with its story of incestuous passion. Nevertheless, there was an underlying nostalgic feeling for the earth, for the primeval, a mythical yearning for a return to the fountains, to the springtide of life, that underlies all of Pavese's writing. La spiaggia (1942) is a variation of Pavese's theme of the eternal return, coveted forever as it is frustrated. It is a story of flight and evasion with its protagonist couple in vain attempting to return to the lost paradise of their youth. Il carcere (1949; written 1938 - 1939), according to its author "a tale about country and sex, " is the story of Pavese's own exile, the experience of solitude and isolation. A thematic connection links Il compagno (1947; written 1946) and La casa in collina (1949; written 1947 - 1948). Although the political engagement in these two stories is stressed more than the myth, it becomes evident that the search for myth in the end implies a flight from historical presence and responsibility. Thus the solitary hero of the latter story, autobiographically close to his author, eventually evades responsibility with his final flight into myth, into the hills of his origin. Later Works The three stories published together in 1949-La bella estate (written 1940), Il diavolo sulle colline (written 1948), and Tra donne sole (written 1949)-center on man's encounter with the city. As fascinating as the city might have seemed initially, it leads to complete disillusionment and isolation, entailing the impossibility of a return to the paradise of yore. This disillusionment is the experience of the women protagonists of La bella estate and Tra donne sole, as well as that of the couple in the symbolically charged Il diavolo sulle colline. La luna e i falò (1950; written 1949) represents a sum total of Pavesian symbolism and the thematic myth of the eternal return. It is to the hills of Santo Stefano Belbo, the hills of his childhood, that the protagonist, symbolically called Anguilla, returns, only to leave them again in search of his true self. Feria d'agosto (1946) is a collection of prose poems and theoretical notes on the subjects of myth and childhood. I dialoghi con Leucò (1947)-in the guise of a conversation between mortals and Olympians-presents the result of Pavese's inquiries into the problems and implications of myth along the lines of Viconian philosophy and Jungian thought. La letteratura americana e altri saggi (1951) contains Pavese's critical writings on American literature, a considerable amount of which he translated. Il mestiere de vivere, his diary for the years 1935-1950 (published posthumously in 1952), ranks as one of the outstanding documents of its time. Of an uncompromising frankness as well as an unusual degree of introspection, it contains lucid observations on Pavese's personality and literary theory and astute reflections on a culture whose most sensitive representative he was. Also posthumously published were the short-story collection Notte di festa (1953; written 1936 - 1938) and the novel Fuoco grande (1959; written with Bianca Garufi in 1946). In 1949 Pavese met and fell in love with Constance Dowling, an American actress, but after a year their time with each other was clearly at an end. His diary, which he apparently intended for posthumous publication, indicated that he had been devastated by his failure with Dowling, and took it as a sign that he would never find happiness in marriage, or among people under any circumstances.
