Registration is open for next month’s European Book Club, in which Italy is the focus country, and the title being discussed is Stefano Benni’s Margherita Dolce Vita, which was translated by Anthony Shugaar and published by Europa Editions.
Stefano Benni’s enormously popular and distinctive mix of the absurd and the satirical has made him one of Italy’s best-loved novelists. This is his twelfth bestselling book of fiction. Fifteen-year-old Margherita lives with her eccentric family on the outskirts of town, a semi-urban wilderness peopled by gypsies, illegal immigrants, and no end of bizarre characters: a reassuring and fertile playground for an imaginative little girl like Margherita. But one day, a gigantic, black cube shows up next door. Her new neighbors have arrived, and they’re destined to ruin everything.
Over at the Europa Editions website, there’s a recap of an event with Benni and author Jonathan Coe, which includes this bit on Benni’s influences:
Coe spoke of his appreciation of Benni’s comedy in Margherita Dolce Vita. In its criticism of mindless consumerism it reminded him of the comedy of Jacques Tati in the films Playtime and Mon Oncle. Reacting, Benni said he admired Tati, but for him a much greater influence was Dario Fo.
Benni described how writing Margherita Dolce Vita came about; he met young girls who found it difficult to be non conformist at school, which led him to reflect on how life must be these days for an intelligent young girl.
The Europa Editions site also has a video of Benni reading in Italian.
There are two Book Club sessions: you can register for the one on May 11th at 6pm at the Istituto Italiano di Cultura (686 Park Avenue, between 68th and 69th Streets) by e-mailing italy.nyc [at] europeanbookclub [dot] org, and you can register for the May 19th one taking place at 7pm in the Central Library at Grand Army Plaza, Brooklyn by e-mailing eurobook [at] brooklynpubliclibrary [dot] org
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .