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If Ferrante is a friend, Ginzburg is a mentor. -- Lara Feigel, GuardianGinzburgs beautiful words have such solidity and simplicity. I read her with joy and amazement. -- Tessa HadleyDear Michele, she wrote, Im writing primarily to tell you that your father is sick. Go and visit him. He says he hasnt seen you for days.Michele is the beloved only son of a large dysfunctional family in 1970s Rome. Headstrong and independent, he has disappeared to England to escape the dangers of his radical political ties. Back in Italy, his father lies dying.Micheles departure sets forth a series of events that will bring together everyone in his life: his mother Adriana, living in the countryside with her twin daughters Bebetta and Nannetta; his long-suffering sister Angelica; his loyal and sad friend Osvaldo; and Mara, a young woman who is prone to showing up on doorsteps with a baby that may or may not be Micheles.The story of the Prodigal Son turned on its head, Happiness, as Such is an immensely wise and absurdly funny novel-in-letters about complicated families and missed connections.Candour and lies, love and exasperation, farce and inconsolable grief are seamlessly compounded in this very funny and deeply melancholy book. -- Deborah Eisenberg, New York Review of BooksOne of the great Italian writers of the twentieth century . . . [her] books snare so much of what is odd and lovely and fleeting in the world. -- Parul Sehgal, New York TimesGinzburg gives us a new template for the female voice and an idea of what it might sound like. -- Rachel CuskHer prose style is deceptively simple and very complex. Its effect on the reader is both calming and thrilling thats not so easy to do. -- Deborah LevyTranslated by Minna Zallman Proctor

Az emberi sorsokról és történelmi korszakokról szóló sorozat ismert írók által írt ismert történeteket dolgoz fel egyszerűsített szöveggel, de az eredeti mű minőségében.

Hay autores que van dibujando su mundo a medida que pasan los años y crece su obra. Otros, en cambio, desde el principio marcan un espacio narrativo y lo sirven con un estilo propio. Este es el caso de Natalia Ginzburg y esa es la razon por la cual los tres relatos largos que componen Familias, aunque redactados con treinta años de distancia, muestran el sello inconfundible de la autora, su capacidad para convertir el espacio domestico en el mejor lugar para la literatura.El camino que va a la ciudad, que inaugura este volumen, cuenta la extraña historia de amor de dos jovenes que viven a caballo entre la ingenuidad y la insolencia; Familia y Burguesia, ineditos hasta ahora en castellano, respiran en cambio el clima de las periferias y ahondan en los detalles de unas relaciones hechas de silencios y gestos cansinos, pero lo que une y da sentido a la obra como conjunto es la mirada piadosa que Ginzburg dedica a sus personajes: tanto si estan arando la tierra como si los descubrimos sentados en un cine de barrio, todos parecen pelear para salir de la mediocridad y juntos nos cuentan la historia de Europa en el siglo XX.

Natalia Ginzburg, one of Italy's great writers, introduced "A Family Lexicon," her most celebrated work, with an unusual disclaimer: "The places, events and people are all real. I have invented nothing. Every time that I have found myself inventing something in accordance with my old habits as a novelist, I have felt impelled at once to destroy everything thus invented." "A Family Lexicon" re-creates with extraordinary objectivity the small world of a family enduring some of the most difficult years of the twentieth century, the period from the rise of Mussolini through World War II (Ginzburg's first husband, who was a member of the resistance, was killed by the Nazis) and its immediate aftermath. Every family has its store of phrases and sayings by which it maintains its sense of what it means to be a family. Such sayings and stories lie at the heart of a great novel about family and history.

Las lúcidas reflexiones de Natalia Ginzburg, una de las escritoras italianas más importantes del siglo XX.«Me mostró el camino.»Vivian GornickLa soledad de la infancia y los pecados de la vejez, las

Un libro fascinante, autobiográfico, por las páginas del cual se pasea en bata la historia de la Italia antifascista. Un libro falsamente simple, donde las anécdotas cotidianas se mezclan sin pudor con reflexiones de mucho calado. Un libro donde el talento de Natalia Ginzburg llega a su expresion mas libre.Aunque este basado en hechos reales, me gusta pensar queLexico familiarva a leerse como una novela, pidiendole a este libro todo lo que solemos pedir a la ficcion.Asi se expresaba Natalia Ginzburg hablando de este magnifico texto que cuenta su infancia y su juventud, y donde aparecen los nombres reales de parientes y amigos, entre ellos Cesare Pavese y Elio Vittorini.Lexico familiarhabla de los Levi, una familia judia y antifascista que vivio en Turin, en el norte de Italia, desde 1930 hasta 1950. Natalia era una de las hijas del profesor Levi y fue testigo privilegiado de los momentos intimos de la familia, de ese parloteo entre padres y hermanos que se convierte en un idioma secreto. A traves de este lexico tan peculiar vamos conociendo al padre y a la madre de Natalia, unas personas que inundan de vitalidad el libro; veremos tambien a los hermanos de la autora, a su primer esposo, a politicos de gran valia y a muchos de l...

A masterpiece. -- The New YorkerA glowing light of modern Italian literature. -- New York TimesThe places, events, and people in this book are real. I havent invented a thing.Natalia Ginzburg wrote her masterful autobiographical novel Family Lexicon while living in London in the 1960s. Homesick for her Italian family, she summoned them in this celebration of the routines and rituals, in-jokes and insults and, above all, the repeated sayings that make up every family.Giuseppe Levi is a Jewish scientist, consumed by his work and a mania for hiking. Impatient and intractable, he is constantly at odds with his impressionable and wistful wife Lidia yet he cannot be without her. Together they preside over their five children in a house filled with argument and activity, books and politics, visitors, friends and famous faces. But as their children grow up against the backdrop of Mussolinis Italy, the Levi household must become not only a home, but a stronghold against fascism.Intimate, enchanting and comedic, Family Lexicon is an unforgettable novel about language, memory, and the lasting power that family holds over all of us.Ginzburg gives us a new template for the female voice and an idea of what it might sound like. -- Rachel CuskIm utterly entranced by Ginzburgs style her mysterious directness, her salutary ability to lay things bare that never feels contrived or cold, only necessary, honest, clear. -- Maggie NelsonHer prose style is deceptively simple and very complex. Its effect on the reader is both calming and thrilling thats not so easy to do. -- Deborah LevyGinzburgs beautiful words have such solidity and simplicity. I read her with joy and amazement. -- Tessa HadleyTranslated by Jenny McPhee

Delia is one of five children, growing up in a poor Italian village. She is 17, and dreams of marrying a rich man, living in a grand apartment in the city and wearing silk stockings. To escape her fathers neglect and her mothers sadness, she begins to take the dusty road to the city every day, accompanied by Nini,her sweet and mysterious cousin.When Nini takes a job in a factory and moves in with a city woman, Delia sees another way of being. But when she discovers shes pregnant, she agrees to marry the father, seduced by the promise of wealth and comfort.Nothing, not even Ninis desperate declaration of love, can stop her but her rejection will be his undoing. The Road to the City is a short, poignant novel about the dreamsof youth, and the cruelty it takes to make them come true.

A glowing light of modern Italian literature. -- New York TimesIf Ferrante is a friend, Ginzburg is a mentor. -- Lara Feigel, GuardianI did not know, I said, that life could go at a run, with drums beating. For you, it is different. Your life, after I came into it, went on at its usual pace, without any sound.In a hushed Italian town after the Second World War, Elsa lives with her parents in the house where she was born. Twenty-seven and unmarried, she is of constant concern to her mother, whose status anxiety manifests itself in acute hypochondria. But her mother does not know that Elsa has fallen in love with Tommasino, the elusive youngest son of the De Francisci family. The De Franciscis own the cloth factory that dominates the town and Elsa knows the details of their lives as intimately as her own.In the course of their secret meetings, Elsa begins to imagine a future with Tommasino, free from the constraints of shared history and expectation. But all of this is threatened when their relationship is revealed.An elegant, spare novel reminiscent of Chekhov, Voices in the Evening is an unforgettable story about first love and lost chances, from one of the greatest Italian writers of the twentieth century.Like Chekhov, she knows how to stand back and let her characters expose their own lives, their frailties and strengths, their illusions and private griefs. The result is nearly translucent writing writing so clear, so direct, so seemingly simple that it gives the reader the magical sense of apprehending the world for the first time. -- New York TimesGinzburg gives us a new template for the female voice and an idea of what it might sound like. -- Rachel CuskIm utterly entranced by Ginzburgs style her mysterious directness, her salutary ability to lay things bare that never feels contrived or cold, only necessary, honest, clear. -- Maggie NelsonSharp and lively. -- Lydia DavisTranslated by D.M. Low

I took the revolver out of his desk drawer and shot him between the eyes.Four years before she shoots her husband and walks to a café for a coffee, a lonely young woman living in a boarding house meets an older man called Alberto. They go for long walks along the river and on the outskirts of the city; they look like lovers, although theyre not.Alberto doesnt tell her anything about himself and she asks few questions. Still, with little else to distract her, she lets her imagination run wild and convinces herself to fall in love. Though he doesnt feel the same, Alberto asks her to marry him and they have a baby. But Alberto is a man who tires quickly of everything.The Dry Heart is a short, dark and psychologically rich novel that forensically examines how an unhappy marriage comes to end in murder.

I really love and admire The Little Virtues. -- Zadie SmithGinzburg gives us a new template for the female voice and an idea of what it might sound like. -- Rachel CuskAs far as the education of children is concerned I think they should be taught not the little virtues but the great ones.Between 1944 and 1960, Natalia Ginzburg wrote The Little Virtues, a collection of eleven vivid portraits of life that are central to her legacy as one of the greatest Italian writers of the twentieth century. From the Italian countryside, where she and her husband lived in exile under fascist rule, to the melancholy streets of 1960s London, Ginzburg explores loneliness and belonging against the backdrop of post-war Europe.In The Little Virtues, Ginzburg takes familiar objects and experiences worn-out shoes, money boxes, meatballs, childhood, silence and transforms them into subjects of great significance. While haunted by the political events of the time, Ginzburg rests her gaze on the human intimacies that shape and define our lives: friendships, marriage and parenthood. She describes her longest relationship with her writing in a definitive piece on vocation and motherhood, while her groundbreaking essay on raising children remains as vital as the day it was written.The Little Virtues is a poignant portrait of Italy in the twentieth century and a singular work of memoir: intrepid, wise and dazzling.If Ferrante is a friend, Ginzburg is a mentor. -- Lara Feigel, GuardianA punch-you-in-the-stomach-with-grief-and-beauty masterpiece. -- Maggie NelsonA profound commentary on Italian life. -- Tim Parks, London Review of BooksThis reissue of a twentieth century classic contains 11 essays of wisdom thatll leave you seeing the world from a new perspective. -- Emerald StreetTranslated by Dick Davis

It was incredible how fear and danger never produced ignoble words but always true ones, words that were torn from your very heart.Anna, a sixteen-year-old schoolgirl in a small town in northern Italy, finds herself pregnant after a brief romance. To save her reputation, she marries aneccentric older family friend, Cenzo Rena, and they move to his village in the south. Their relationship is touched by tragedy and grace as the events of their life in the countryside run parallel to the war and the encroaching threat of fascism and in their wake, a society dealing with anxiety and grief.At the heart of the novel is a concern with experiences that both deepen and deaden existence: adultery and air raids, neighbourhood quarrels and bombings. With her signature clear-eyed wit, Natalia Ginzburg asks how we can act with integrity when faced with catastrophe, and how we can love well.

Il volume raccoglie una serie di brevi saggi che risalgono alla fine degli anni Sessanta. Testi che somigliano alle pagine di quel diario che Natalia Ginzburg dichiarava di non tenere e che affrontano vari temi: la solitudine dell''infanzia, lo stupore della vecchiaia, i film visti e i libri letti, le esperienze di lavoro, la psicanalisi, la musica lirica, le faccende domestiche, la politica, il credere e il non credere in Dio.

"Le voci della sera" e un breve romanzo del 1961, scritto durante il soggiorno londinese della Ginzburg e alla vigilia del ritorno in Italia. Con uno stile spoglio, fedele al rigore delle notazioni oggettive, la scrittrice esprime in questo romanzo il senso delle storie familiari, la presenza dei vecchi, il crescere doloroso dei giovani, l''allacciarsi e il mutare degli amori e delle amicizie. Della taciturna ragazza che scrive in prima persona il lettore soffre le speranze e le delusioni senza una riga di commento o giudizio o introspezione. L''introduzione e firmata da Italo Calvino.