Godina izdanja: 2000
ISBN: 86-09-00698-1
Jezik: Srpski
Autor: Strani

DANIJELE DEL ĐUDIČE

Prevod - Dejan Ilić

Izdavač - Rad, Beograd

Godina - 2000

106 strana

18 cm

Edicija - Reč i misao

ISBN - 86-09-00698-1

Povez - Broširan

Stanje - Kao na slici, tekst bez podvlačenja


`Why would a man firmly rooted in the literary world of his time never write a word of his own? This is the question Daniele Del Giudice’s debut novel Lo stadio di Wimbledon sets out to answer. A spare, quiet, meditative book, it is an inquiry into another individual’s life choices that ultimately becomes an inquiry into the writing life itself, and an apologia on writing.

The novel’s narrator is a young man who, considering his own life choices, questions why a certain literary figure, now deceased, never wrote. The name of the individual is mentioned several times, and it is clear that he played a unique role in the cultural life of the city of Trieste. From other indications in the book, the reader knows that the man at the center of the inquiry is Roberto “Bobi” Bazlen, who served as an advisor to leading publishing houses of his day. The book echoes, with a few references, what was in fact an unfinished novel by Bazlen involving a captain who preferred to remain at sea, and a shipwreck, published posthumously in Italian as Il capitano di lungo Corso (Adelphi, 1973) and in English as The Sea Captain in Notes Without a Text and Other Writings (Dalkey Archive, 2019). “It is,” wrote publisher Roberto Calasso in introducing these writings, “a part – and a decisive part – of Bazlen’s work not to have produced any work.” Both Bazlen and Del Giudice deliver an explosive silence: Bazlen with the implications of his refusal to write, and Del Giudice in his way of creating “Literature that does what it’s supposed to do, explode and be silent at the same time” (Gianni Montieri, “Il dolore e i libri. Lo stadio di Wimbledon di Daniele Del Giudice”).

One of the most persistent themes in the book and throughout Del Giudice’s work is the nature of memory. The narrator of Lo stadio di Wimbledon comes to realize that memory, though essential to our understanding of ourselves and the reality around us, is a fragile and imperfect instrument, constantly evolving, mutable and subjective. To find out why Bazlen never published anything in life, the young man seeks out individuals who knew the man, all of them now quite old. But how accurate are the memories? The result is a range of perspectives, which offer different angles of the same person. Viewed and recalled by other people, an individual’s character or personality becomes kaleidoscopic, ever-faceted and therefore uncertain, never fixed or determined. The volatility and unreliability of memory turns on the passage of time, impermanence, and change, and challenges the idea that the object of the inquiry in Lo stadio di Wimbledon might have a cohesive identity.`


Ako Vas nešto zanima, slobodno pošaljite poruku.

Daniele Del Giudice Lo Stadio di Wimbledon Wimbledon Stadium