Pavese, the inevitable words
of Silverio Novelli
Sixty years ago, August 27, 1950, the writer Cesare Pavese committed suicide (sleeping pills) in a hotel room "Rome" in Turin. He was 42 years. A few days earlier, in the same summer, tragic, won the Strega Prize with a triptych of novellas collected under the title of the eponymous novel, La bella estate (published by Einaudi in 1949). In the bottom of a devastating depression lay with death instincts and impulses of life. The second, for compensation and sublimation, Pavese had even given the strength in the years to engage in a serious relationship with existence through writing. The first reason had fallen and core themes of his literary work in the seething cauldron of self-destruction.
Think of the last verses of the poems of Pavese, "the lyrics of will death, drugs for generations of high school students' (Pier Vincenzo Mengaldo), a mirror, even naive frozen and excruciating pain: we arrive here at the new synthesis of the symbolic transcription of the existential reality of the woman as a universal port denied the salvation of man. Think of the last novel, The Moon and the Bonfire (1950), in which the needs of ulissesco myth of return coincides with the necessity of literary language as a language to give themselves a privileged position to say "the inevitability of fate. Ripeness is all, ripeness is all, says Pavese quoting Shakespeare. The maturity of man, finally and with absolute bitterness, lies in knowing that there is no escape to the "absurd vice." Life is recorded each day as the fate of misery without the possibility of redemption. In this way, according to Toni Iermano, Pavese falls "in its own right in the circle of the great writers of European decadence," in which the fire burns up the poem on the ashes of burned out an existence in the feeling of defeat. Defeat the return, failing in his unrealistic about the reappropriation of lost identity, and ends with the increase sanction no escape.
That stone face carved
It is interesting to note that side paths, routes peripheral almost inaccessible roads, stay secluded in the work and life can bear fruit Pavese interpretative original and brilliant, unusual and confirmation to arrive, for this very challenging, if the eye of the scholar is granted to the finder without prejudice, building the critical tradition but without adagiarvisi (Pavese would lend itself well to lead the wayfarer and remain in the same loci communes). In short, the net gain is, if you do not ever surrender to test approaches and personal perspectives. This is what happens in the fast (reading), dense and recorded five essays on the work of Cesare Pavese (thus the subtitle), collected in the volume of stone His face was carved (Arachne publishing Rome 2010, pp. 135) by Jacqueline Spaccini, Professor of Italian Language and Literature at the University of Caen, writer, poet and translator (http://laboratoriodicriticadarteletteratur.blogspot.com/). This book was awarded the Special Prize essays Cesare Pavese 2010, awarded annually by a qualified international jury during a ceremony held at the home of Santo Stefano Pavese Belbo (CN), the location of the center-Cepam Pavese Birthplace Museum (http://www.centropavesiano-cepam.it/).
Pratolini, the disaffection and Clelia
Divided into chapters, the book aligns five essays written by the author in various circumstances and appear in different locations in a period from 2002 to 2006.
Securities immediately give account of the significance of the chosen object of study by the author, the subject that would qualify, as mentioned above, for the originality of the angles of perspective framed.
The first chapter is titled The memory found in Cesare Pavese. Thoughts on the moon and the bonfires in comparison with The District of Vasco Pratolini. After the comparison of some key steps of the two novels (written by authors roughly peers), placed along the axis of the emotional and ideological movements that take place in symmetrical diverging directions when not opposed, the special investigation inductive performed by the author to the conclusion that, in respect of Pavese's last novel, "the death instinct has served its purpose [?] This rule book all the accounts with the past, the task is fulfilled" (p. 32 ).
In the second chapter, entitled The pregnant vanity of one who has no place. Reflections on 'poems of estrangement, "the author is very careful in identifying the network of Petrarchan stationary objects that stand in the narrow sky dislike turned into poetry, field sheet on the dawn of not returning. Behind Love (failed, finished, not born, impossible), the author recognizes the One who has no place in the poetry itself, Pavese a rage that "language is damned to find a" real "and can erode the unfathomable buried in the depths of the human being and bring to light, like a geyser gush of" (p. 63).
rich and interesting records of acute is the third chapter, "Triste y solo final." Conflict relationships between social classes and sexes in the eyes of Clelia Oitana, or between the protagonist of single women (the third novel of the trilogy that makes up the beautiful summer, along with the eponymous novel, and The Devil in the hills). The woman will win its own form of freedom, completely foreign to the dynamics of gender relations and class-standing, by contrast, an individual idiotypic and otherness dissonant (Spaccini quotes on p. 78, a revealing phrase, caught on the lips of Clelia, "the real vice was this pleasure of hanging alone). Otherness that allows the researcher to interpret as a projection Clelia fiction author.
"The wig and fake breasts"
Such an interpretation Spaccini reiterate that, in the fourth chapter, pointing out that the analysis of the figure of Clelia is the favorite pupil of Pavese, Italo Calvino, in when mailed to the Master, as a private epistle, its analysis Among women, just read in manuscript form, "that woman [...] from the beginning, you understand that you are in a wig and fake breasts "(p. 84). The title of the fourth chapter is the mirror when one is broken. Calvin withdrawing Pavese and rebuilds with clear focus, through editing and extensive commentary on documentary sources (the writings of Calvin, excerpts from lectures and interviews), the long, slow and laborious separation developed by Calvin respect to the writer, man of letters (ie "intellectual in the round ', p. 85) and man Cesare Pavese and Calvino' extrovert is projected to the world [...] Pavese introverted instead moves to the ego" (p. 107), whereas Pavese seems to be read by more like writer who has unleashed a strong autobiographical motif, Calvin is at pains to show, "even when it is autobiographical," who "has never intimate: his is the talent of those who can manage their own image, even in the private sector, building a social self for those who will listen and I'm a creator for those who will read "(p. 110). This section also allows you to read the watermark in the evolution of the relationship between intellectual and ideological commitment and political (and, alternatively, between writer and contemporary historical reality) in the Second World War Italian.
Nel'ultimo chapter, if not now, when? Chronicle of stories left out, Spaccini dedicated to the research of "a common point" among the six unpublished stories Pavese (why stop at the stage of manuscripts and minute) until the 1994 Einaudi edition. "[D] fter a thorough analysis of inductive" (p. 116), Spaccini identifies this point "in the passing of lives that they struggle to find a deeper meaning to their existence, for which there is also comfort in the world in which they move, gray , boring, banal, repetitive and lonely "(p. 131). The author's conclusion is supported by effective multitasking intertextual investigation, conducted both in terms of a kind of narratological proxemics (the spaces in which they live actors and supporting actors of different stories, captured in their asfitticità or vague fading, as the weather scenario indicates that the temperature humoral / moral of the story), or the level of identity of the characters (all'etopea action, rather than prosopography): everything is plumbed to the sieve of lexical choices and Finally, to within a framework of structural considerations on the "rhythmic tension" and "speed of the narrative" (p. 126).
In fact on the elements in rhythmic prose Pavese also emphasizes one of our greatest scholars of literary language, Pier Vincenzo Mengaldo: Pavese definitely in rhythm, syntactical-rhetorical device, the 'trellis next iteration or distance " the 'network of metaphors, often of a sexual nature and not obsessive, "the" recurrence "which translates into" symbolic statements "words and images, and" an inner dialectic tendencies refusing local forms "(the latter is thought to Maurizio Dardano) are the result of choices that "the prose takes on a poetic rhythm programmatically.
Silverio Novelli
http://www.treccani.it/Portale/sito/lingua_italiana/percorsi/percorsi_65.html
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