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Il sentiero dei nidi di ragno (Oscar opere di Italo Calvino Vol. 6) (Italian Edition) Kindle Edition
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- ASIN : B008FHSQE2
- Publisher : MONDADORI; 1st edition (17 July 2012)
- Language : Italian
- File size : 548 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- Word Wise : Not Enabled
- Print length : 217 pages
- Best Sellers Rank: 501,720 in Kindle Store (See Top 100 in Kindle Store)
- Customer reviews:
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So there's a certain fascination in meeting a lot of new words, even if it's a tad toilsome. But also the portrayal of the life of the partisans in the north of Italy during WWII is fascinating, the various attitudes of men coming from very different backgrounds towards the Germans, the Italian fascists, the Russians and the gradually approaching Allies. It's a lot to take in during constant dictionary pauses, and I think I'll need to read it again.
In a sense perhaps it's a minor work. It's short, it tells the story of just a few small episodes in the partizan struggle in Italy at the end of the Second World War, and you could say that it presents these events in a deliberately highly restricted perspective, through the uncomprehending eyes of an ignorant, deprived and damaged child. But there's nothing minor about the aspects of human life it explores. As in Golding's The Spire, the limitation of viewpoint is only apparent. We don't really see things through the protagonist's eyes, we're told how he sees everything in a way that makes us realise the incompleteness of his understanding, and therefore makes us think around it. It's a kind of alienation device, used with piercing intelligence and imagination, a way of forcing us to see things afresh, neither through the eyes of the child nor with the glaze of adult familiarity. It's also a way of making sure that our feelings never settle into a static, final and finite response. Sometimes what we see is ugly and disturbing, as with the casual cruelty of adults to Pin and his prostitute sister, or the callousness with which the partizans and the fascists kill each other, the corrupt motives of the partizans among whom Pin moves or the casualness with which people choose and change sides. Sometimes it's the reverse; we find ourselves nudged into a more sympathetic understanding than we might have had of the ugly things people under pressure do.
I referred to Calvino's piercing intelligence, and there's highly sophisticated art in the book. This appears in much of the detail of the writing, in the pervasive split perspective of seeing things both through and not through Pin's eyes, and in the understated but devastating power of the ending. There's also a rawness, and beyond this rawness there's a sense of Calvino's own real experiences of the resistance, insisting on their own truth, an authenticity that feeds art and that lies beyond it.