#BuonaDomenica #Buongiorno

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"Se una notte d'inverno un viaggiatore" di italo Calvino, LI + 304 pagine, Mondadori, edizione 1994.

#SeUnaNottedinvernoUnViaggiatore

Era da molto nella mia lista di lettura.
Un romanzo che definire "originale" è limitativo.
In questo Paese e al mondo della cultura dei nostri giorni mancano geni come #ItaloCalvino.

#libri #leggere #cosaLeggoNelWeekend #19aprile

The Adaptable Educator’s (TEA’s) Book Review – The Complete Cosmicomics by Italo Calvino

Italo Calvino’s The Complete Cosmicomics is one of the most playful achievements of modern literature: a book that treats cosmology not as a field of cold explanation but as a theatre of longing, memory, chance, and comic self-invention. The author takes the grand, impersonal language of science and bends it into something intimate and strangely tender. Galaxies, tides, molecules, and extinct species become the raw material for stories that feel at once prehistoric and deeply human.

At the centre of the book is Qfwfq, Calvino’s unforgettable narrator, who speaks as if he has survived every stage of the universe. That voice is the book’s greatest invention. Qfwfq is not merely a character; he is a consciousness stretched across time, one that remembers impossible things with the casual certainty of autobiography. The writing uses this fantastical perspective to make the cosmos feel inhabited by desire. Even in stories built from scientific premises, what matters is not explanation but feeling: jealousy, nostalgia, curiosity, rivalry, attraction. The universe is never abstract for long. It becomes a stage for emotional comedy and metaphysical yearning.

One of the book’s major pleasures is the way it turns scientific fact into folklore. In “The Distance of the Moon,” the moon is not a remote body in space but a reachable, almost touchable presence, and the story transforms astronomy into a myth of pursuit and loss. In “All at One Point,” the universe begins in collapse and intimacy before expanding into separation; the comic image of everyone crowded together captures both cosmological theory and the human ache for closeness. Calvino is brilliant at finding the hidden lyricism in science, and at exposing the absurdity lurking beneath all systems of order. A phrase like “the first quark” becomes, in his hands, a kind of fairy-tale opening.

What makes the book so enduring is that its wit never cancels its melancholy. Calvino’s humour is bright, but it is always shadowed by impermanence. Species vanish, configurations dissolve, celestial arrangements change, and even memory itself proves unstable. In “The Form of Space,” for example, an abstract spatial paradox becomes a meditation on separation, visibility, and the human need to be recognized. In “The Dinosaurs,” the return of the extinct creature is not triumphant but uneasy, as though survival itself were a burden of estrangement. He repeatedly suggests that history is not progress but mutation, and that identity is always provisional.

Stylistically, the book is astonishingly elegant. It is written with crystalline clarity, but its clarity is never plainness. The author can move from comic detail to philosophical implication in a single sentence, and he does so without ever sounding heavy-handed. The prose is light on its feet, yet it carries enormous intellectual and emotional weight. That balance is the secret of the collection: it is simultaneously whimsical and exacting, imaginative and disciplined, airy and exact.

As a whole, The Complete Cosmicomics reads like a bestiary of the universe’s first emotions. It is a book about how matter becomes memory, how space becomes longing, and how the vastness of existence can still be narrated through the needs of a single voice. Calvino reminds us that the universe is not only something to be measured; it is something to be imagined. And in his hands, imagination becomes a form of knowledge.

It is a rare book that can make the birth of the cosmos feel both scientifically vast and heartbreakingly personal. Calvino does that again and again, and the result is one of the most original works of twentieth-century literature.

Un paisaje está hecho de hojas, de colores y de luces, Italo Calvino

Me acompaña en la visita a Kioto un estudiante japonés, apasionado de la poesía y poeta él mismo, que lee muy bien el italiano y hasta lo habla un poco. Pero la conversación es difícil porque ambos…

Origen: Un paisaje está hecho de hojas, de colores y de luces, Italo Calvino – Calle del Orco

“Italo Calvino: A Traveller In A World Of Uncertainty”, History Today (https://www.historytoday.com/archive/portrait-author-historian/italo-calvino-traveller-world-uncertainty).

Via HN: https://news.ycombinator.com/item?id=47725403

#Books #ItaloCalvino #Calvino #Fiction #Literature #Time #Uncertainty #Communism #Fascism

Quando la Fucina Fibonacci andò sulla #Luna https://peertube.uno/w/8NautdFpUCfZH9Fu4Q9JuQ

@spettacoli

#SmashingPumpkins #ItaloCalvino #GeorgesMelies #moon #teatro #music

Italo Calvino: A Traveller in a World of Uncertainty

https://www.historytoday.com/archive/portrait-author-historian/italo-calvino-traveller-world-uncertainty

#HackerNews #ItaloCalvino #Traveller #Uncertainty #Literature #HistoryToday

If the present, with its conflicts and uncertainties, is impossible to know, asks #ItaloCalvino, how can we hope to understand the past?

🔓 The new Portrait of an Author is free for 7 days

https://www.historytoday.com/archive/portrait-author-historian/italo-calvino-traveller-world-uncertainty

Se non tengo presente l'universo, perdo il senso delle proporzioni.

#italocalvino
#universo
#antonionunziante

Der Baron auf den Bäumen by Italo Calvino

Moderner Klassiker aus Italien. Fantasiereich und klug, witzig und melancholisch entfaltet Italo Calvino in seinem Roman aus dem Jahre 1957 einen Raum der Wunder, wie ihn nur die Literatur erfinden kann. Ein abenteuerlicher Fall von Eskapismus und poetischem Protest in Zeiten des gesellschaftlichen Umbruchs.

Am 15. Juni 1767 beschliesst der zwölfjährige Baron Cosimo Piovasco di Rondò, das dekadente Milieu seiner aristokratischen Familie zu verlassen, um fortan auf den Bäumen zu leben. Er erhebt sich von der Familientafel, klettert auf eine Steineiche und wird bis zu seinem Tod die Erde nicht mehr betreten. Cosimo baut sich in den Baumkronen eine eigene Welt auf: Er isst und schläft, wächst und entwickelt sich, er lernt und arbeitet, liest und kommuniziert, ohne jemals den Boden zu berühren. Er unternimmt sogar Reisen durchs Land, entlang von Alleen, und nimmt an gesellschaftlichen und politischen Ereignissen teil. Sein Dasein auf den Bäumen wird zum Symbol der Freiheit und des Widerstands gegen Konventionen und Zwänge. Im Laufe seines Lebens begegnet Cosimo vielen Menschen, auch berühmten Persönlichkeiten wie Voltaire und Napoleon. Und er verliebt sich in die geheimnisvolle Viola.

Die Hörspielbearbeitung des Schauspielers Wolfgang Stendar, der auch die Hauptrolle spricht, entstand 1968 im Radiostudio Zürich. Es ist ein Fundstück aus dem SRF-Archiv und wurde letztmals 1985 gesendet

https://archive.org/details/der_baron_auf_den_baeumen_1968