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Vieni via con me di Saviano Roberto
In una versione ampiamente rivista e significativamente arricchita, il libro propone tutti i temi affrontati da Saviano nei suoi monologhi: l'importanza dell'Unità d'Italia, il subdolo meccanismo della diffamazione, l'espansione delle mafie al Nord, la battaglia per la vita condotta da Piergiorgio Welby, l'infinita "emergenza" dei rifiuti a Napoli, la sfida senz'armi di don Giacomo Panizza alla 'ndrangheta calabrese, la tragedia annunciata del terremoto a L'Aquila, il dovere di difendere la Costituzione.
Nell'introduzione Saviano racconta retroscena della sua partecipazione al programma e propone una riflessione sul suo eccezionale impatto.
Il risultato è un serratissimo ritratto dell'Italia di oggi: accanto alla denuncia delle ferite vecchie e nuove che affliggono il nostro Paese, c'è il racconto - commosso e ammirato - di vite vissute con onestà e coraggio, esempi su cui possiamo ancora contare per combattere il male, risollevarci e costruire un'Italia diversa.
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«Splendido libro di Roberto Saviano che riporta, in maniera molto approfondita, i monologhi delle puntate andate in televisione.
"Vieni via con me" è un libro di denuncia verso il sistema, che raccoglie tragedie di vita reale spesso affrontate con coraggio e determinazione ma che sono passate in sordina sulla cronaca nazionale.
Il libro non è altro che un ritratto dell'Italia in questo momento storico, che racconta della sofferenza che affligge il nostro Paese, della lotta e dell'amore che nutre gli Italiani.»
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"Saviano ha scritto l'ennesimo libro che dovrebbe far riflettere un po' tutti sulla realtà in cui viviamo, sulla nostra Italia e su quello che le sta accadendo... Tra una crisi che lasciare milioni di persone senza lavoro e i politici che sono interessati solamente al loro tornaconto!" di F. Cirio
Contenuto "Mosè, primo alpinista, è in cima al Sinai. Inizia così il suo corpo a corpo con la più potente manifestazione della divinità." Erri De Luca racconta l'eroe Mosè con la grazia del grande scrittore che reimmagina, attraverso la Scrittura, la grandezza sofferente dell'uomo alla guida di un popolo in fuga. "E disse": con questo verbo la divinità crea e disfa, benedice e annulla. Dal Sinai che scatarra esplosioni e fiamme, vengono scandite le sillabe su pietra di alleanza. Nell'impeto di un'ora di entusiasmo un popolo di servi appena liberati si sobbarca di loro: "Faremo e ascolteremo". Luogo di appuntamento è il largo di un deserto, dove la libertà è sbaraglio quotidiano. Notizia strepitosa: nell'antico ebraico, madrelingua, le parole della nuova legge sono rivolte a un tu maschile. Le donne guardano con tenerezza gli uomini commossi e agitati. Il dito scalpellino che scrive in alto a destra: "Anokhi", Io, è il più travolgente pronome personale delle storie sacre. Dettagli del prodotto
FROM THE LAND OF THE MOON, by Milena Agus
· Paperback: 114 pages
· Publisher: EUROPA EDITIONS (5 Jan 2012)
· Language English
· ISBN-10: 9781609450014
The first English translation of Milena Agus' international bestseller. A young, unnamed woman explores the life of her Sardinian grandmother - a romantic, bewitching, eccentric woman whose life was characterised by honour, passion and the abiding search for perfect love that spanned most of the 20th century. Ever in the background of this remarkable woman's story is the stunning Sardinian landscape - the deep blue of the Mediterranean, the rugged mountains of the Sardinian back country, the charming villages lost in time.
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"That monthly changes in her circled orb,
Lest that thy love prove likewise variable"
So says Juliet to Romeo, and, as hinted at by Juliet, love does prove variable and more than a bit surreal in Milena Agus' novella, "From the Land of the Moon". When I choose to sit down and read a book from cover to cover it means one of two things: it is a short book; and/or it is one that gets to me from the opening pages. In this case, both are applicable. I picked the book up because the publisher, Europa Editions, has a penchant for finding excellent books that have not yet seen their way into an English translation. I sat down in the bookstore and started reading. I didn't stop until I was almost finished (and running late) and went home and finished it.
Translated from Italian, "From the Land of the Moon" gives us the story of the life of a Sardinian woman as seen through the eyes of her granddaughter. A handsome woman, but unwed, at age 30 (in 1943) she seems destined for the life of a spinster. But fate, and an arranged marriage to a widower, intervenes. The marriage seems at first to be loveless and doomed to be childless but a rather striking decision by the seemingly unloved wife and trip to a mainland sanitarium to be treated for kidney stones (that seem to cause her regular miscarriages) changes her life forever.
As the woman's life is uncovered, layer by layer I was struck by how each revelation surprised me. The surprises weren't bizarre by any stretch but they did challenge the perceptions I developed as the story developed. It also struck me that the story was so much more than a story of a woman's life. It was a story about art and music and literature and its place in a society that does not on its surface seem to provide a hospitable home for it. By the time the last layer was revealed I was no longer surprised that I couldn't predict what would come next. I was touched by how the story ended.
I have no hesitation about recommending this book.
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Setting her novel in Cagliari, Sardinia, author Milena Agus creates a story which spans three generations, focusing on women from two families who are joined through marriage. An unnamed contemporary speaker feels particularly connected to her paternal grandmother, and as the speaker pieces together this woman's life from what she herself recalls about her and from the family lore which has survived through the memories of the rest of the family, she creates a woman who not only searches earnestly for love but is absolutely determined to experience it in all its splendor, believing that it is "the principal thing in life."
The background to the story is simple and is simply presented. This grandmother is thirty in 1943, and unmarried--she has never had a real love. The local boys have always seemed to be attracted to her initially but then somehow are repelled within a few meetings with her, despite her beauty. Her eventual marriage, forced upon her by her father, who fears that her growing reputation of being mad will eliminate all future possibilities of marriage, is to an older man, a widower who has lost his family in the Allied bombing. Neither partner expects anything from the marriage, and she encourages her new husband to continue to visit the local brothels. When, after seven years and many miscarriages, her doctor advises her to go to a spa for treatment, her life changes, leading, nine months later to the birth of the speaker's father. The speaker's other grandmother, Lia, has had daughter at age eighteen with a local shepherd, who is married, and this daughter becomes the speaker's mother.
As the speaker further develops the stories of these characters, the narrative swirls in time and place, and it is impossible to tell the extent to which the speaker may be embellishing them. Several story lines overlap, and the two grandmothers have similar experiences. Both grandmothers write poetry, and the deaths of true lovers (or those believed to be true lovers) seem to happen simultaneously. The reader does not know whether these are coincidence or if, memory being fallible, the speaker is confusing family lore and the family members who have experienced these events. Then again, she could be inventing everything, following in the tradition of her two writer grandparents.
Whatever the case, the novel deals beautifully with primal events and universal themes--the need to belong, the importance of ties to a community, the yearning for true love, the vagaries of chance or fate, the importance of memories, and the need to create. As the generations move forward from World War II to the present, each character must protect his/her memories against change in order to preserve a sense of selfhood. It is only the speaker who has the liberty to tinker with the past and/or the truth. When, in the conclusion, the speaker's own life is brought up to date, the reasons for all these memories become clear, and her need to connect with the past poetically is understandable. Passion, in all its many forms, rules the lives of the characters here--and affects the reader, too.