Kirjahaku

Aldo Palazzeschi (1885-1974) is arguably the major twentieth-century Italian writer who has been most neglected by the English-speaking world. Born in Florence and trained as an actor, Palazzeschi ranks high as a poet and fiction writer in his homeland. His work, which attempts to recreate the experience of a spectator watching and listening to a character on stage, won him the praise of F.T. Marinetti, the founder of Italian futurism, who enrolled the young poet in his avant-garde coterie despite the fact that, stylistically, Palazzeschi's work had little in common with futurism. A Tournament of Misfits brings together a selection of Palazzeschi's short fiction for the first time in English. Through clear and fluid translations, Nicolas J. Perella demonstrates Palazzeschi's use of laughter to debunk social and literary myths. As a social being, Palazzeschi felt himself a deviant, but he was saved from a self-destructive bitterness by his capacity for irony, which he often directed at himself as well as at others. Yet, it would be a mistake not to see the desperate yearning for liberation from society’s rigid code behind the irony and the fun in Palazzeschi's work. With this translation, Perella brings Palazzeschi to life for a new audience to appreciate.

Aldo Palazzeschi (1885-1974) is arguably the major twentieth-century Italian writer who has been most neglected by the English-speaking world. Born in Florence and trained as an actor, Palazzeschi ranks high as a poet and fiction writer in his homeland. His work, which attempts to recreate the experience of a spectator watching and listening to a character on stage, won him the praise of F.T. Marinetti, the founder of Italian futurism, who enrolled the young poet in his avant-garde coterie despite the fact that, stylistically, Palazzeschi's work had little in common with futurism. A Tournament of Misfits brings together a selection of Palazzeschi's short fiction for the first time in English. Through clear and fluid translations, Nicolas J. Perella demonstrates Palazzeschi's use of laughter to debunk social and literary myths. As a social being, Palazzeschi felt himself a deviant, but he was saved from a self-destructive bitterness by his capacity for irony, which he often directed at himself as well as at others. Yet, it would be a mistake not to see the desperate yearning for liberation from society’s rigid code behind the irony and the fun in Palazzeschi's work. With this translation, Perella brings Palazzeschi to life for a new audience to appreciate.

Excerpt from IL Codice di Perel Hai veduto come lo abbiamo impolverato? Non si capiva pi che cosa fosse Quando siamo stati vicini mi sembrato di averlo visto scomparire. Scomparire -sicuro, anche a me. Ma quello non era un uomo sapete Che cos'era sentiamo? Sembrava una nuvola. Lo abbiamo ricoperto di polvere, una nuvola sembriamo noi caro mio, su questa porca strada No no, l'ho veduto prima che la strada fosse invasa dalla polvere, un uomo di fumo Imbecille Va' l , uomo di fumo, sar un arrosto di asino. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from L'Incendiario: Col. Rapporto Sulla Vittoria Futurista di Trieste Non dice una cosa nuova il Palazzeschi. Fu sempre dato dei giullari ai poeti d'ogni genere e d'ogni forma. Coloro che si danno da s stessi del saltimbanco, figurarsi se sono presi alla lettera dagli uditori o lettori di buona volont Taluno mi disse che il giovane poeta fu bistrattato dalla critica benevolente. Non so. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.