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When Life in Peactime opens, on May 29, 2015, engineer Ivo Brandani is sixty-nine years old. He's disillusioned and angry--but morbidly attached to life. As he makes a day-long trip home from his job in Sharm el Sheik reconstructing the coral reefs of the Red Sea using synthetics, he reflects on both the brief time he sees remaining ahead and on everything that has happened already in his life to which he can never quite resign himself. We see his slow bureaucratic trudge as a civil servant, long summer vacations on a Greek island, his twisted relationship with his first boss, the turmoil and panic attacks he faced during the student uprisings in 1968 that pushed him away from philosophy and into engineering, and his fearful childhood as a postwar evacuee. A close-up portrait of an ordinary existence, Life in Peacetime offers a new look at the postwar era in Italy and the fundamental contradictions of a secure, middle-class life.

A vivid and unforgettable novelistic portrait of rural Italy, exploring the nature of reality and the human condition.   A small-time farmer living in central Italy in the 1960s is the keeper of a great truth: that people are machines built by other beings who are machines themselves. Our true destiny is to build ever better machines so that society can become a techno-utopia in which friendship can be established among all people on earth. These ideas bring him into conflict with everyone, especially his wife, against whom he is accused of ill-treatment. His quest takes him to Rome, where he presents his truth, hoping it will bring him worldwide recognition. Behind his poetical reveries and unfathomable scientific notions lies the disturbing fragility of a lone, paranoid, and deluded man in conflict with everyone, including himself.   Paolo Volponi's unique novel The World Machine examines the relationship between rural life and the modern city, as well as the subversive idealism of a society still firmly anchored in the past, dominated by the Church, and unable to grasp the need for change.

A brief study of select Western art from Italy's foremost philosopher. In Renaissance palaces, the studiolo was a small room to which the prince withdrew to meditate or read, surrounded by paintings he particularly loved. This book is a kind of studiolo for its author, Giorgio Agamben, as he turns his philosophical lens on the world of Western art. Studiolo is a fascinating take on a selection of artworks created over millennia; some are easily identifiable, others rarer. Though they were produced over an arc of time stretching from 5000 BCE to the present, only now have they achieved their true legibility. Agamben contends that we must understand that the images bequeathed by the past are really addressed to us, here and now; otherwise, our historical awareness is broken. Notwithstanding the attention to detail and the critical precautions that characterize the author's method--they provoke us with a force, even a violence, that we cannot escape. When we understand why Dostoevsky feared losing his faith before Holbein's Body of the Dead Christ, when Chardin's Still Life with Hare is suddenly revealed to our gaze as a crucifixion or Twombly's sculpture shows that beauty must ultimately fall, the artwork is torn from its museological context and restored to its almost prehistoric emergence. These artworks are beautifully reproduced in color throughout Agamben's short but significant addition to his scholarly oeuvre in English translation.

In a tour-de-force reinterpretation of the Christian tradition, Agamben shows that the Garden of Eden has always served as a symbol for humanity's true nature. What happened to paradise after Adam and Eve were expelled? The question may sound like a theological quibble, or even a joke, but in The Kingdom and the Garden, Giorgio Agamben uses it as a starting point for an investigation of human nature and the prospects for political transformation. In a tour-de-force reinterpretation of the Christian tradition, Agamben shows that the Garden of Eden has always served as a symbol of humanity's true nature. Where earlier theologians viewed the expulsion as temporary, Augustine's doctrine of original sin makes it permanent, reimagining humanity as the paradoxical creature that has been completely alienated from its own nature. From this perspective, there can be no return to paradise, only the hope for the messianic kingdom. Yet there have always been thinkers who rebelled against this idea, and Agamben highlights two major examples. The first is the early medieval philosopher John Scotus Eriugena, who argued for a radical unity of humanity with all living things. The second is Dante, whose vision of the earthly paradise points towards the possibility of genuine human happiness in this world. In place of the messianic kingdom, which has provided the model for modern revolutionary movements, Agamben contends that we should place our hopes for political change in a return to our origins, by reclaiming the earthly paradise.

A representative text of a milieu marked by student protests and aspirations for moral and political renewal.  First published in Italian in 1968, The World Saved by Kids was written in the aftermath of deep personal change and in the context of what Elsa Morante called the "great youth movement exploding against the funereal machinations of the organized contemporary world." Morante believed that it was only the youth who could truly hear her revolutionary call. With the fiftieth anniversary of the tumultuous events of 1968 approaching, there couldn't be a more timely moment for this first English translation of Morante's work to appear. Greeted by Antonio Porta as one of the most important books of its decade, The World Saved by Kids showcases Morante's true mastery of tone, rhythm, and imagery as she works elegy, parody, storytelling, song, and more into an act of linguistic magic through which Gramsci and Rimbaud, Christ and Antigone, Mozart and Simone Weil, and a host of other figures join the sassy, vulnerable neighborhood kids in a renewal of the word's timeless, revolutionary power to explore and celebrate life's insoluble paradox. Morante gained international recognition and critical acclaim for her novels History, Arturo's Island, and Aracoeli, and The World Saved By Kids may be her best book and the one that most closely represents her spirit.

Drawing on twenty years of research, this is the definitive biography of Primo Levi. Over the last seventy years, Primo Levi (1919-87) has been recognized as the foremost literary witness of the extermination of the European Jews. In Primo Levi: An Identikit, a product of twenty years of research, Marco Belpoliti explores Levi's tormented life, his trajectory as a writer and intellectual, and, above all, his multifaceted and complex oeuvre. Organized in a mosaic format, this volume devotes a different chapter to each of Levi's books. In addition to tracing the history of each book's composition, publication, and literary influences, Belpoliti explores their contents across the many worlds of Primo Levi: from chemistry to anthropology, biology to ethology, space flights to linguistics. If This Is a Man, his initially rejected masterpiece, is also reread with a fresh perspective. We learn of dreams, animals, and travel; of literary writing, comedy, and tragedy; of shame, memory, and the relationship with other writers such as Franz Kafka and Georges Perec, Jean Améry and Varlam Shalamov. Fundamental themes such as Judaism, the camp, and testimony innervate the book, which is complemented by photographs and letters found by the author in hitherto unexplored archives. This will be the definitive book on Primo Levi, a treasure trove of stories and reflections that paint a rich, nuanced composite portrait of one of the twentieth century's most unique and urgent voices.

Originally published in 1965, this volume was immediately judged to be one of the main contributions to the intellectual life of the Italian Sixties. Three years later, in 1968, it became clear that it had anticipated many of the themes of the New Left and the student revolt. Ex-partisan, poet, literary critic and teacher, Fortini had been immersed for more than twenty years in the cut and thrust of ideological debate. In these pages, besides discussing problems of cultural organization and the consciousness industry, he described the end of militant anti-fascism and the alliance between progressivism and literature, the end of the social mandate of writers and the beginning of a 'revolution of civilization'. In writing, Fortini did not intend to speak to the young but the young, perhaps in the spirit of contradiction, listened to him. Apart from some of the crucial interventions into the literary and critical debates of the Sixties, the volume includes essays on Kafka, Pasternak, Spitzer, Auerbach, Lukacs, Lu Xun, Proust and Brecht.

A collection of essays on the mysteries of the body from one of Italy‿s leading postwar communist intellectuals. Politician, translator, and journalist Rossana Rossanda was the most important female left-wing intellectual in post-war Italy. Central to the Italian Communist Party‿s cultural wing during the 1950s and ‿60s, she left an indelible mark on the life of the mind. The essays in this volume, however, bring together Rossanda‿s reflections on the body‿how it ages, how it is gendered, what it means to examine one‿s own body. The product of a decades-long dialogue with the Italian women‿s movement (above all with Lea Melandri, a vital feminist writer who provides an afterword to the current volume), these essays represent an honest and raw meeting between communist and feminist thought. Ranging from reflections on her own hands through to Chinese cinema, from figures such as the Russian cross-dressing soldier Nadezhda Durova to the Jacobin revolutionary Theroigne de Mericourt, here we see Rossanda‿s fierce intellect and extraordinary breadth of knowledge applied to the body as a central question of human experience.

Originally published as Classe; Torino [Turin]: Bollati Boringhieri editore, Ã2009.

An introduction to Franco Fortini, a Jewish communist and a major figure in postwar Italian intellectual life. It is against those who love to rush to the aid of the victors, against the widespread and racist contempt for Arabs, and against the celebration of modern civilization and technology that Israel embodies.

A translation of Italian philosopher Giorgio Agamben's work, in which the author notes that academic research has lingered on the "pagan goddess," while the concept of "elemental spirit," ignored by scholars, is vital to the history of iconography.

From the idyll of his Sardinian childhood to the transformative experience of the anti-Fascist resistance, and from postwar militancy to the dismal regression of Italian culture, the author captures memories that are intensely personal and inseparable from political and intellectual experience.

Kore, also called Persephone and referred to poetically by the Greeks as "the unspeakable girl," was the daughter of Demeter and Zeus who was abducted by Hades and made queen of the netherworld. This title presents three richly detailed treatments of the myth of Kore.

A philosophical exploration of what capitalistic societies truly mean for the individual. A short vade mecum for unrepentant materialism, The Idea of World collects three essays by Italian philosopher Paulo Virno that are intricately wrapped around one another. The first essay, "Mundanity," tries to clarify what the term "world," as referred to as the perceptual and historical context of our existence, means-both with and against Kant and Wittgenstein. How should we understand expressions such as "worldly people," "the course of the world," or "getting by in this world"? The second, "Virtuosity and Revolution," is a minor political treatise. Virno puts forward a set of concepts capable of confronting the magnetic storm that has knocked out the compasses that every reflection on the public sphere has relied on since the seventeenth century. The third, "The Use of Life", is the shorthand delineation of a research program on the notion of use. What exactly are we doing when we use a hammer, a time span, or an ironic sentence? And, above all, what does the use of the self-of one's own life, which lies at the basis of all uses-amount to in human existence? Presenting his ideas in three distinct vignettes, Virno examines how the philosophy of language, anthropology, and political theory are inextricably linked.

Widely considered to be among the most important Italian poets of the twentieth century, Sandro Penna was born and raised in Perugia but spent most of his life in Rome. Openly gay, Penna wrote verses celebrating homosexual love with lyrical elegance. His writing alternates between whimsy and melancholia, but it is always full of light. Juggling traditional Italian prosody and subject matter with their gritty urban opposites in taut, highly concentrated poems, Penna‿s lyrics revel in love and the eruption of Eros together with the extraordinary that can be found within simple everyday life. There is something ancient in Penna‿s poetry, and something Etruscan or Greek about the poems, though the landscape is most often of Rome: sensual yet severe, sinuous yet solid, inscrutable, intangible, and languorous, with a Sphinx-like and sun-soaked smile. Penna‿s city is eternal‿a mythically decadent Rome that brings to mind Paris or Alexandria. And though the echoes resound‿from Rimbaud, Verlaine, and Baudelaire to Leopardi, D‿Annunzio, and Cavafy‿the voice is always undeniably and wonderfully Penna‿s own. Â