Petros Markaris: I Labirinti di Atene

I listened to an interview with the Italian translator, Andrea di Gregorio, of Petros Markaris.
Il grecoe e' "una lingua assolutamente volubile e in movimento. Se volessimo fare paragone tra il greco dell' oggi e l'italiano, dovremmo paragonarlo al italiano di Dante. Quando Dante la stessa parola la stcrve in quattro modi diversi e da quattro rimi diversi, la stessa cosa sucesse in greco di oggi. Per cui e' una lingua molto creativa che e' molto difficile da rendere in italiano. Qualcosa perdi. Perche' l'italiamo e' piu' strutturato, l'italiano e' piu' rigido nelle sue strutture."


Buona giallistica.
Paragone con Camillieri

I Labirinti di Atene
Athens, Capital of the Balkans

Giuseppe Pedriali

Giuseppe Pedriali has just written a book on the Italian athlete who took part in the London Marathon in the Olympic Games of 1908.

Diane Williams: new book

Diane William's new collection of stories is called It Was Like My Trying to Have a Tender-Hearted Nature: A Novella and Stories. I was intrigued by her interview on the New Letters On the Air.

Persuasion

Jane Austen

This was a slow read. Austen's ability to delve into detail is admirable. The texture of the novel is built by a network of complicated social activities. Ann Elliot is a sad and reason-driven creature who is representative of the early 18 c. good-mannered females.

Mi sono perso a Genova

Un video dedicato ad un libro e ad una mostra di Maurizio Maggiani. Le fotografie sono di Maurizio Maggiani, Jacopo Benassi, Moreno Carbone.

The Bastard of Istanbul

Elif Shafak
2007

This is probably the best read in my list of fiction in the last several years. The stories of the characters are complex and windy, but Shafak intertwines them skillfully to weave the fabric of a sophisticated plot. The main themes of the book oscillate between national and transnational identity, past and present, memory and remembering. Fascinating work!

Atlas of Emotion

Greenaway’s palazzo’s installation, entitled Watching Water, was an homage to the Venetian lagoon; it treated his beloved topos of water allusively and metonymically, creating it mostly with light (Bruno 317).