E 'finally released the fifth issue of horse Cavalcanti. Here read the editorial of the number. For each purchase, and contact information as well me. EDITORIAL
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The photo of the author of this issue is devoted to a Nobel Prize winner for literature who needs no introduction: Dario For. Because of its reputation in the interview I tried to focus on the recent path of the master (which is spoken in the past twenty years), marked a new and original proposal: the theater conference, dedicated to great character actors of history and Italian culture: Ambrose, Caravaggio, Correggio, Giotto.
Passion civil, which always accompanies the proposals of this magazine, continues in this issue with a new stage dedicated to the narrative of the former socialist countries, twenty years after Wall fell. After the betting on Berlin, Riga and the Czech Republic, Slovakia here (always from the pen of Julian Philadelphus), the laborious search of an identity and compete with nearby sister company from which it is legitimate to ask why it is divided.
The vocation to the journey of discovery of literature yet little known, distinguishes us from the foundation of the magazine back in, now, 2003. This number is included in two different ways. Be there to see in the phone book and tell, Fabio Pierangeli offers us, with his usual expertise, broad overview of contemporary travel narratives. With the heading Around the world, however, we arrive at a new beach: The Cape Verde archipelago, rich in a narrative young and attractive, but still little known in Italy. We hope that the review of Francesca Medal on the most important authors and their poetry sounds as editorial suggestion that at least some of them being translated. By categories
Window on Europe and characters continue to remember and carry out a comparison at some distance from authors of late nineteenth century or early twentieth century that are part of a fee and some smaller closest to us because that is where contemporary have been influenced to some extent. This kind of dialogue between classic and contemporary nineteenth saw together Schwob and Pavese, Huysmans, Rodenbach and Suskind. Now it's time for Oscar Wilde (certainly the author's most important European decadence in fiction) and Schneider. In this case the comparison and 'even double because the character Shneider (the man with the big ears) echoes the equally memorable The perfume de Grenouille. The essay on Wilde is Luigi Carlo Torchio, Schneider is the one on Beppe Mariano.
The pages devoted to proposals for stories or dramas contains two monologues Brunella Pelizza (The word for the heading stage and screen), the story of Francesca and Civerchio Loris Marchetti, while in the section at the beginning of stage two are young authors: Lucia Lightning and Loretta Sebastian. I purposely left
for the last sections devoted to narrative and issues of Italian style. In
windows on Italy Luca Gabriele is dealing with a literary event of the most 'intriguing of the decade: the Neapolitan writer Elena Ferrante. Techne
Finally, Manuel Masi and Franco Romano dedicated to two miles away from the literary world but united in the case of the two players involved, from research by way of absolute value: Emma Dante, with his theater, his tongue its ability to be inventive and at the same time director of the texts for the second Cormac McCarthy, author of The road, considered as the ratio between its narrative and the cinematic language. Returning to
Emma Dante we can make a small preview: author's own language, so contaminated with the Sicilian dialect is a foretaste of wider and more articulated reflection in the sixth issue that we, right around the relationship between language and dialect in the narrative of the Italian 900 and contemporary.
The editors.
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