!!> PDF / Epub ☉ La strada di San Giovanni ✩ Author Italo Calvino – Natus-physiotherapy.co.uk

La strada di San Giovanni L Infanzia, La Guerra Partigiana, I Rapporti Con Il Padre Cinque Scritti Postumi Sul Tema Della MemoriaContiene La Strada Di San Giovanni Autobiografia Di Uno Spettatore Ricordo Di Una Battaglia La Poubelle Agre E E Dall Opaco


About the Author: Italo Calvino

Italo Calvino was born in Cuba and grew up in Italy He was a journalist and writer of short stories and novels His best known works include the Our Ancestors trilogy 1952 1959 , the Cosmicomics collection of short stories 1965 , and the novels Invisible Cities 1972 and If On a Winter s Night a Traveler 1979.His style is not easy to classify much of his writing has an air reminiscent to that of fantastical fairy tales Our Ancestors, Cosmicomics , although sometimes his writing isrealistic and in the scenic mode of observation Difficult Loves, for example Some of his writing has been called postmodern, reflecting on literature and the act of reading, while some has been labeled magical realist, others fables, others simply modern He wrote My working method hasoften than not involved the subtraction of weight I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities above all I have tried to remove weight from the structure of stories and from language.



10 thoughts on “La strada di San Giovanni

  1. says:

    The Road to San Giovanni The Road to San Giovanni is a collection of five autobiographical essays though it would be appropriate to call them memory deliberations instead which presents an affecting self portrait and offers indirect insights into how Calvino conjured up his imaginary worlds worlds which are surreal, mystical but so enthralling that they look real whose language combines exactitude, freedom and lightness to form different voice altogether Calvino starts with his relations The Road to San Giovanni The Road to San Giovanni is a collection of five autobiographical essays though it would be appropriate to call them memory deliberations instead which presents an affecting self portrait and offers indirect insights into how Calvino conjured up his imaginary worlds worlds which are surreal, mystical but so enthralling that they look real whose language combines exactitude, freedom and lightness to form different voice altogether Calvino starts with his relationship which was not usual as his father was curious about the minute examination of flora, he had passion for studying and acclimatizing exotic plants, while Calvino used to weave his own world of fantasy with fatherThe way my father saw things, it was from here up that the world began, while the other part of the world below the house was a mere appendix, necessary sometimes when there were things to be, but alien and insignificant, to be crossed in great strides, as though in flight, without looking to right or left Every other day Calvino walked to the farm with his father Neither spoke, for the minds of both were elsewhere the one already on the land, the other lost in the city It was a struggle Calvino never really resolvedEvery morning of my life is still the morning when it s my turn to go with Father to San Giovanni Second essay A cinema goer s autobiography is probably the best of all, Calvino meditates about his teens, surreptitiously attending movies He often arrives late and leaves early Calvino talks about influence of cinema on his life Calvino created a unique world of his own in cinema which provided him a realm of imagination, he conjured up a space of new dimensions where he could relate the world in consciousness to something tangibleA different world from the one around me, but my feeling was that only what I saw on the screen possessed the properties required of a world, the fullness, the necessity, the coherence, while away from the screen were only heterogeneous elements lumped together at random, the materials of a life, mine, which seemed to me utterly formlessThe narrative gaps and transpositions which result inspire the distinctive style of his own works Calvino the soldier, fighting with the Italian partisans, has a comparable experience when he attempts to reconstruct a battle he had thought was a victory but which had in actuality been a defeat To do so he uses signs to precisely invert the narrative This third essay has a tragicomic tone, like the films of Calvino s admired contemporary, Federico Fellini whose influence can be seen in the works of Calvino as most of the works of Calvino are surreal, mystical, like a lucid dreamThe imagined memory is actually a real memory from that time because I am recovering things I first imagined back then It wasn t the moment of Cardu d death I saw, but afterwards, when our men had already left the village and one of the bersaglieri turns over a body on the ground and sees the reddish brown moustache and the big chest torn open and says, Hey look who s dead and then everybody gathers round this dead man who instead of being the best of theirs had become the best of ours, Cardu who ever since he had left them had been in their thoughts, their conversation, their fears, their mythsThe fourth essay is characterized by humor about La Poubelle the dustbin, Calvino talks about existential purpose of agreement La Poubelle Agree which, according to him, asserts existence of a manThus daily representation of descent below ground, this domestic and municipal rubbish funeral, is meant first and foremost to put off my personal funeral, to postpone it if only for a little while, to confirm that for oneday I have been a producer of detritus and not detritus myself The final essay describes possibility of a reconciliation specifically through the writer s relation to creative landscape From the Opaque in which the two extremes opaque and the sunny are deliberated Calvino accepts that he is actually situated in the depths of the opaque however he is attracted to sunny and that, in writing, he is reconstructing the map of a sunniness that is only an unverifiable postulate for computation of the memory, the geometrical location of the ego Italo Calvino


  2. says:

    When it comes to Calvino, I d always chose his innovative and magical fiction than anything non fiction, but this book caught my eye, and I do like him a lot, so I took the plunge These five pieces, or memory exercises as so called, do offer some indirect insights into how he conjured up his imaginary stories These writings were collected by his wife, and tell of his difficult relationship with his father, who was a farmer and horticulturist, and had a passion for studying and acclimatizing When it comes to Calvino, I d always chose his innovative and magical fiction than anything non fiction, but this book caught my eye, and I do like him a lot, so I took the plunge These five pieces, or memory exercises as so called, do offer some indirect insights into how he conjured up his imaginary stories These writings were collected by his wife, and tell of his difficult relationship with his father, who was a farmer and horticulturist, and had a passion for studying and acclimatizing exotic wildlife which filled the young Calvino with an investigative mind He also recalls his love for cinema, before a graphic account of fighting fascists during the Second World War, that becomes a sort of meditation on the role played by imagination in the human memory There was one piece where he analysis living in a house in a Parisian suburb, which was good The book overall was OK, but nowhere as good as the best of his fiction


  3. says:

    I spent the better half of last weekend on the beach reading this book, which was left behind in the house where I was staying It consists of a series of provocative vignettes that approach memoir, or memory exercises as Calvino called them I re read many of the masterful sentences in this collection, impressed obsessed, even with the powerful ideas underlying it.Calvino plays with the very idea of memoir, and of memory itself When he recalls a battle, he begins with an extended metaphor I spent the better half of last weekend on the beach reading this book, which was left behind in the house where I was staying It consists of a series of provocative vignettes that approach memoir, or memory exercises as Calvino called them I re read many of the masterful sentences in this collection, impressed obsessed, even with the powerful ideas underlying it.Calvino plays with the very idea of memoir, and of memory itself When he recalls a battle, he begins with an extended metaphor of memories as sediment buried under a riverbed He acknowledges the problems inherent in unearthing them To explain his memories of war would be to bury them again under the sedimentary crust of hindsight, the kind of reflections that put things in order and explain everything according to the logic of past history This seems the defining problem of collective memory, or history, as professors like to call it Calvino also struggles to represent figures from his past In the title exercise, he describes his father, who espoused vast botanical knowledge Instead of the taxonomical names his father taught him, Calvino recalls fantastical names for the plants and then reveals his dilemma about recounting details that he never paid attention to in the first place The problem of personal memory What do we tell ourselves that we remember What do we tell ourselves to remember Another piece recalls his boyhood days at the cinema and how they transformed under fascist rule It is a beautiful, nostalgic essay For me, it s foremost a reflection on how regimes that limit the individual s experience with art can also oppress the imaginative space It reminds us that cinema plays a political role, in helping us to transcend reality, to believe in what lies beyond the physical boundaries of a tangible world.The artistry of his prose is apparent almost everywhere I am tempted to dwell on his awesome use of free modifiers, what Virginia Tufte would call branching sentences, but I don t want to be a grammar Nazi Calvino was distinctly anti Fascist How much of this is owed to the art of the translator, I can t be sure Even Calvino s father used a different one of his many tongues depending on the topic of conversation He required a certain language to express humor fran ais, mais oui or banality English, of course Is it the translator Tim Parks, for example, who uses the word callow multiple times in one book and what s the word for this in Italian On Fellini, Calvino writes this which I think should be on the great filmmaker s gravestone if it isn t already That is why Fellini manages to disturb us to the core because he forces us to admit that what we would most like to distance ourselves from is what is intrinsically close to us My favorite piece, though, is his 30something page long rumination on garbage bins It overflows with absurd free association For Calvino, the act of emptying dustbins shows that the personal is political it embodies our participation in a system and our acceptance of authority for reasons of convenience A sort of social contract theory centered on garbage, if you will Trash is also existentially relevant we are what we don t throw away And for Calvino, no surprise, it s Marxist What we do along the chain of trash distribution defines our social and economic roles, with the vividness of an orange peel or a scribbled out page.After reading that one, I fell asleep by the water, dreaming of a time when Calvino lived, so that we might spend an afternoon together not remembering Like an abstract painting, the final vignette places you in a realm of possibility for time and space It is, like most of his work, worth waking up for


  4. says:

    These memory exercises could not be called significant in my opinion, though they were occasionally interesting when they weren t rambling I do not see the difference between these and ordinary literary reminiscences One might spend their time reviewing the marginalia of Coleridge, or reading the literary reviews of Poe as well It is really just a matter of how obsessed a person is with Calvino s writing, and the determination to read every word he wrote will be the only impetus for anyone These memory exercises could not be called significant in my opinion, though they were occasionally interesting when they weren t rambling I do not see the difference between these and ordinary literary reminiscences One might spend their time reviewing the marginalia of Coleridge, or reading the literary reviews of Poe as well It is really just a matter of how obsessed a person is with Calvino s writing, and the determination to read every word he wrote will be the only impetus for anyone to finish this book If you want to knowabout Fellini, or rubbish bins, give this one a perusal The weaker parts of the collection detracted from the stronger parts, the latter of which were the descriptions of his father It seems to me any halfway decent writer could have written the other sections, as they consisted of everyday knowledge with a few personal details about Fellini and Italian countrysides and cinema thrown in, culminating in well expressed sentiments of a mundane and uninspired nature.For Calvino PhD students only


  5. says:

    The Road to San Giovanni consists of five memory exercises I found each of these chapters were written in a very different manner and strangely arranged in a sequence from the most sentimental to the most analytic In that, I mean that the first three exercises were descriptions of things that had happened in the author s life, and the last two arecommentary based on reflection and analysis The end posts here are mostly written fragments The first exercise, the title story, is long The Road to San Giovanni consists of five memory exercises I found each of these chapters were written in a very different manner and strangely arranged in a sequence from the most sentimental to the most analytic In that, I mean that the first three exercises were descriptions of things that had happened in the author s life, and the last two arecommentary based on reflection and analysis The end posts here are mostly written fragments The first exercise, the title story, is long descriptions, often long sentences with thoughts running together, describing the author s childhood taking trips up a mountainside to the family garden There s a lot of description here, but it is run together so as to make reading a chore It s as if the author wanted to save his thoughts as rapidly as possible but using the most poetic wording he could The second exercise describes the author s cinema experiences as a child and young man Here the writing islike a typical short story, and there sthan just description some analysis is done concerning things like the impact of poorly dubbing English pictures had on later Italian movies The third exercise concerns remembering a battle in WWII, where the author seems to rememberabout what happened after some reflection The fourth piece is about garbage cans and the act of disposing household garbage Calvino dives into this one with gusto, and compares the French and Italian methods of garbage disposal, and how society seems to like similar, agreeable garbage containers A fun analysis, but in the end it seems to be just an exercise when it could have beenThe last bit, called From the Opaque, isindescribable It purports to be about seeing at different levels, but other analogies, like a theater and a landscape, are drawn into the writing This is written as snippets of what I d call pseudo logic, unpunctuated paragraphs of writing that sounds like it was lifted from a philosophical essay This was really overwhelming to deal with since there didn t seem to be a purpose beyond making the snippets of text to look philosophical and academic If that s what he was going for, he got it.Overall, I found this a mixed bag In general I liked Calvino s writing I did not enjoy the first or last exercises, although at least I found the first to be quite poetic and revealing The middle three bits were most interesting, and closest to publishable essays I found myself agreeing with the reasoning of the essay on garbage, and finding it quite interesting Although I have not read other Calvino books, I suspect this is not a good introduction


  6. says:

    The first two memory exercises were amazing The first is a piece of his father walking to and from the fields The second essay was about watching American films as a kid in Fascist Italy Wonderful The third piece, about not really rememberinga battle during WW2 was good The last two were so dull I don t even remember them Weigh it all out, and it is worth a good deal for the good parts


  7. says:

    Hard to rate this, as it s a personal, intimate, introspective entry Those who start reading and are interested in connecting to Calivino in this way which certainly will not be everyone will adore the entire thing as I did, and find their own existential narrative activating.


  8. says:

    2.5 3 That last essay was just too opaque for me.


  9. says:

    I have missed Calvino.


  10. says:

    This is a miscellaneous collection, but the essays all touch on the impermanence of life and memory in a way that gives the book an atmosphere of its own, outside of the content of each individual piece It results in an almost haunting feeling, haunting because of how beautifully Calvino expresses memories of a time and place that no longer exist His writing has a particular feeling or spirit to it that is hard to describe but always beautiful and immersive NotesTalking to each other was diff This is a miscellaneous collection, but the essays all touch on the impermanence of life and memory in a way that gives the book an atmosphere of its own, outside of the content of each individual piece It results in an almost haunting feeling, haunting because of how beautifully Calvino expresses memories of a time and place that no longer exist His writing has a particular feeling or spirit to it that is hard to describe but always beautiful and immersive NotesTalking to each other was difficult Both verbose by nature, possessed of an ocean of words, in each other s presence we became mute, would walk in silence side by side along the road to San Giovanni To my father s mind, words must serve as confirmation of things, and as signs of possession to mine they were foretastes of things barely glimpsed, not possessed, presumed My father s vocabulary welled outward into the interminable catalog of the genuses, species and varieties of the vegetable world every name was a distinction plucked from the dense compactness of the Forest in the belief that one had thus enlarged man s dominion and into technical terminology, where the exactness of the word goes hand in hand with the studied exactness of the operation, the gesture pg 10 In short, all he wanted was a sign that civil cohabitation was possible in this world of his, a cohabitation prompted by a passion for improvement and informed by natural reason but then he would immediately be oppressed again by reminders that all was precarious and beset by danger and oncethe fury was upon him And one of these reminders was myself, the fact that I belonged to that other, metropolitan and hostile part of the world, the painful awareness that he couldn t count on his children to consolidate this ideal San Giovanni civilization of his, which thus had no future So that the last stretch of the path was covered in an unwarranted hurry, as though it were the edge of a blanket he could used to talk himself away inside San Giovanni pg 25 T hose baskets seemed insignificant then, as the basic materials of life always seemed banal to the young, yet now that I have but a smooth sheet of white paper in their place, I struggle to fill them with name upon name, to cram them with the words, and in remembering and arranging these names I spendtime than I spent gathering and arranging the things themselves,passion no, not true I imagined as I set out to describe the baskets that I would reach the crowning moment of my regret, and instead nothing, what came out was a cold, predictable list and it s pointless my trying to kindle a halo of feeling behind it with these words of commentary all remains as it was then, those baskets were already dead then and I knew it, ghosts of a concreteness that had already disappeared, and I was already what I am, a citizen of cities and of history still without either city or history and suffering for it a consumer and victim of industrial products a candidate for consumerism, a freshly designated victim and already the lots were cast, all the lots, our own and everybody else s, yet what was this morning fury of my childhood, the fury that still persists in these not entirely sincere pages Could everything perhaps have been different not very different but just enough to make the difference if those baskets hadn t even then been so alien to me, if the rift between myself and my father hadn t been so deep Might everything that is happening now perhaps have taken a different slant, in the world in the history of civilization the losses not have been so absolute, the gains so uncertain pg 29 30 A nd everything that once was is gone, everything that seemed to be there but was already only an illusion, an unaccountable stay of execution pg 31 So what had the cinema meant to me in this context I suppose distance It satisfied a need for distance, for an expansion of the boundaries of the real, for seeing immeasurable dimensions open up all around me, abstract as geometric entities, yet concrete too, crammed full of faces and situations and settings, which established an abstract network of relationships with the world of direct experience pg 60 With the result that when I empty the small bin into the big one and lift it up by its two handles to carry it out of our front door, though still functioning as a humble cog in the domestic machine, I am nevertheless already taking on a social role offering myself as the first link in the chain of operations crucial for collective cohabitation, I am confirming my dependence on the institutions without which I would die buried under my own rubbish in the snail shell of my individual existence, at once introverted and inthan one sense autistic Is the departure point for proper clarification of the reasons that make my poubelle truly agr e acceptable in the first place to me, even if not pleasant, as one has to accept the unpleasant without which none of what pleases us would have any sense pg 98 It was no doubt his obedience to Christian precepts which brought my friend to accept this role quite happily And me I would like to be able to say, with Nietzsche, I love my destiny, but I can t do that until I have explained for myself the reasons that have led me to love it Carrying out the poubelle agr e is not something I do without thinking, but something that needs to be thought about and that awakens the special satisfaction I get from thinking pg 101 A rite of purification, the abandoning of the detritus of myself, and it doesn t matter whether we re talking about the very detritus contained in the poubelle or whether that detritus refers us back to every other possible detritus of mine what matters is that through this daily gesture I confirm the need to separate myself from a part of what was once mine, the slough or chrysalis or squeezed lemon of living, so that its substance might remain, so that tomorrow I can identify completely without residues with what I am and have Only by throwing something away can I be sure that something of myself has not yet been thrown away and perhaps need not be thrown away now or in the future The satisfaction I get out of this, then, is analogous to that of defecation, the feeling of one s guts unburdening themselves, the sensation at least for a moment that my body contains nothing but myself, and that there is no possible confusion between what I am and what is unalterably alien Alas the unhappy retentive or the miser who, fearing to lose something of his own, is unable to separate himself from anything, hoards his faeces and ends up identifying with his own detritus and losing himself in it pg 103 Here we arrive at the economic crux of what I have hitherto chosen to refer to judicially as a contract and symbolically as a right my relationship with the poubelle is that of the man for whom throwing something away completes or confirms its appropriation, my contemplation of the heaps of peels, shells, packaging and plastic containers brings with it the satisfaction of having consumed their contents, while for the man who unloads the poubelle into the rotating crater of the dust cart it offers only an idea of the amount of goods which are denied to him, which reach him only as useless detritus But perhaps and here my essay glimpses an optimistic conclusion intermediately succumbs to the temptation , perhaps this denial is only temporary is having been taken on as a dustbin man is the first step opus social ladder that will eventually make today s pariah another member of the consumer society and like everybody else a producer of refuse, while others escaping from the deserts of the developing countries Will take his place loading and unloading the bins pg 110 All that s left me and belongs to me is a sheet of paper dotted with a few sparse notes, on which over the last few years under the title La Poubelle Agr e I have been jotting down the ideas that cropped up in my mind and that I planned to develop at length in writing, theme of purification of dross throwing away is complementary to appropriating the hell of a world where nothing is thrown away one is what one does not throw away identification of oneself rubbish as autobiography satisfaction of consumption defecation theme of materiality, of starting again, agricultural world cooking and writing autobiography as refuse transmission for preservation and still other notes whose thread and connective reasoning I can no longer make out, theme of memory expulsion of memory lost memorypg 125


Leave a Reply

Your email address will not be published. Required fields are marked *