Cover illustration: an image of a painting by Felice Casorati, a favorite painter of Natalia’s (whom her father presented as a not-so-comic tyrant then naturally abhors)
Of one of the Nazi functionaries Levi meets in Periodic Table, he writes: “, “è nostro dovere giudicarlo, non perdonarlo” [it is our duty to judge him, not forgive him].
Prison Box: Inventory (Rome, February 1944)
copy War and Peace
cyrillic type
(fading, spine bent)cashmere scarf,
arm length
(dirty, white, torn)photographs of a girl,
two boys
and a woman (frayed at the edges)pencil stubs
(carbon
tips spent)lined spiral notebook
(nine pages left,
yellowed, blank)pair of wire-rimmed glasses
(left lens shattered,
nose support gone)— from Peg Boyers’ Hard Bread, a poetic autobiography for Natalia, this poem the imagined box of things she could have gotten after her husband, Leone, had been tortured to death
“See, see where Christ’s blood streams in the firmament!” — Faustus, in Christopher Marlowe’s play
Gentle readers and friends,
Perhaps not altogether by chance, I’ve been reading a series of Northern Italian and Jewish writers tragically directly relevant to what is happening in the US and elsewhere today — slowly before our very eyes, keeping at this point millions of people quarantined at home with no testing for said virus, or humane exit plan (except death for millions). This in a course I’m taking with Judith Plotz at the OLLI at AU (as after all she picked the books and authors); most of them written between the mid-1930s and not long after WW2; you see the assigned books above. I’ve not been content with these, but added to them Ginzburg’s The Little Virtues (with her rightly much admired “Winter in Abruzzi”), a book of essays on her and Peg Boyer’s extraordinarily good recreation of her autobiography; I went back to Primo Levi’s If this be man and The Truce (which I read in Italian in the early 1990s), about If not now, when?, and Carlo Levi’s Fear of Freedom, in William Weaver’s Open City (an account of his relationship with post-war writers in Rome (these three and Ignazione Silone, Alberto Moravio, Elsa Morante).
I cannot recommend them too strongly —
The longer texts assigned were all ultimately forms of life-writing. In The Periodic Table Primo Levi retells his life through a series of ironic essay-stories which take their immediate inspiration from 21 different chemical elements, each of which allows him to tell of aspects of his life more or less chronologically, as boy and man in Northern Italy, before, during and after WW2, often seen from the aspect of him practicing his profession as a chemical engineer (this helped save him from death in the extermination camps). We meet his family, friends (Sandro and Rita who help him resist fascist culture), people he loved, whimsical utopian dreams, and (in one case) now exposes for committing without ever with understanding or acknowledging the evil enacted. We are led to see how central to our lives is chemistry. Personal stories filled with life’s troubles, philosophical reflections, whimsical irrational doings, often intertwined with his sense of an imposed alienation and stigmatizing as a Jew lead to our seeing a collective experience of humiliation and oppression lightly presented. Unusual and elusive accounts of life in a laboratory or chemist’s shop often ending in a characteristic sobering gesture. I liked especially the individual scenes, with their unexpected turns. This is a kind book by a kind man who has endured much.
Primo Levi at the New York Public Library
Natalia Ginzburg’s Family Sayings (another translation of the book’s title) feels de-centered: she hardly ever gives us her or her family’s thoughts hidden from the collective outward life; the anecdotes are mostly about others, with her as the quietly presiding POV. Yet the book is about her life, starting with the time she has consecutive memories at age 5 to near the end of her life when she visited England with her second husband, and now somehow freed of her immediate Italian world can spill out what happened the intimate events and calamities inflicted on her family and close friends and associates as well as their relationships, achievements, losses. Family sayings are repeated phrases, words, sentences that the family uses as collective comic glue for themselves. And we can track them (as they add and subtract people) from one place to another as they move around Italy, or are forced to move, hide, become imprisoned, escape (her brother swam across a part of the Mediterranean in winter to reach unoccupied France). Part of the reason for her reticence is this is a memoir, all the people are real, and the events really happened, so she must protect them and herself. I suggest frustration at this led Boyers to write the feelings and thoughts we do surmise (we are given enough to extrapolate) in poems that give Natalia’s repressed reactions and only partly expressed critiques and celebrations full play. I loved her plain matter-of-fact style: simple sentences expect us to provide in-depth understanding as when she says of Jewish and other displaced now vulnerable peoples they are “without a country.” While the surface is prosaic, quietly telling about all sorts of interesting people (many involved in politics and literature), the underlying pattern is tragic. Boyers calls her style and tone “astringent yet passionate.” The refrain: I never saw him again (of her husband); they never saw one another again. Like Virginia Woolf in Jacob’s Room, she produces a portrait of humanity as seen through the lens of a personal rich Italian secular-Jewish culture — during a time of aggressive fascism.
Natalia Ginzburg
One of the unexpected pleasures of Boyers’ poems is that in elaborating, imagining Ginzburg’s relationships to a number of Italian writers mentioned and central to her book (e.g., Pavese), we get close to these.
Peg Boyers reading her poetry
Christ Stopped at Eboli is more than a poetic masterpiece; it is a political argument and ethnographic study. It covers the year he spent in internal exile — a peculiarly Italian form of imprisonment descending from the Roman period, where a person is cut off, exiled from his or her community, isolated in a remote spot and watched to keep him or her from any kind of political activity, news of the world he or she understands. (A number of the Jewish and socialist/communist literati in Italy were treated this way: Ginzburg’s memoir includes a couple of years in Abruzzi.) Carlo Levi may be said to have thoroughly internalized his exterior culture — he acts as physician (he was trained to be a doctor), paints (his vocation), writes, joins in tangentially — which culture during his sojourn expands to sympathize with these strange and victimized (for centuries) people he finds himself among, whom since the Northerners know little of them, he is determined to bring before the world of his readers (the book was written in 1946 after Mussolini fell from power). I think his conclusion that these people live in a timeless realm they cannot be plucked from wrong: they have been given no opportunity, no good choices (like the working class whites of the US), exploited by every group that has taken power over them, and the result has been seething just repressed destructive violence. (The lesson for our era is more direct in Carlo Levi’s book’s conclusions than the above books.) He compels our attention by the riveted and insightful nature of the chronological settling in and living alongside story he tells. His sister visits him at one point, and we see this world from her experienced sophisticated compassionate eyes.
Carlo Levi
Late in life both Carlo Levi and Natalia Ginzburg became directly politically involved, both as independents in the parliament with ties to the socialist parties. They wrote journalism, she worked for Einaudi all her life. Both seem to have been known by other much respected writers and artists — from Croce to Pavese and Elsa Morante. It is a small and elite world these people belong to, but one with a pro-social democracy tradition – now under threat too.
*************************************************
Movie poster
I’ve now begun the fourth author for this term, Giorgio Bassani whose Garden of the Finzi-Continis (I have the Isabel Quigly translation) has some wider fame because there was a popular movie adapted from the book. I began this autobiographical novel after reading an apparently famous meditation: “A Memorial Tablet in the Via Mazzini.” He differs from the other three by his name (no Levi), because he comes from Ferrara (the others Turin and Rome), and because his tale is of fascists. This epitomizes one of Bassani’s central themes: the moral problem of assimilation. A man whose has suffered unspeakably from the camps and seen so many friends worked to death, outright killed (probably raped — this is only very recently recorded as on Marta Hiller’s A Woman in Berlin) sees his name as having died on a memorial plaque on a wall where there was once a synagogue. He wants to inform all that he is still living, but they are willing (good of them) to acknowledge the mistake and seemingly welcome him back, seemingly sorry for all that has happened, in fact they want him to be silent about what happened, to enable their own forgetting of the roles they played in betraying neighbors, often enough taking their furniture, their things, their property, their positions. It seems to be his moral duty to assimilate in the way demanded in order that the society can return to functioning. But is it? What happens is the one survivor refuses to pretend nothing happened, refuses to forget, demands his house and furniture back. And we see that the others (outright fascists and those who supported the fascists) want to return to the status quo that favored them after the war as well as before. They want to carry on wearing fascist costumes, acting like fascists (the partisans with their machine guns are behaving like fascists).
The Garden of the Finzi-Continis seems to be about how uUnlike the Levis in Turn), Bassani’s family in Ferrara, surrounded by fascists and sometimes fascists themselves, were not aware that they could and would be destroyed — they thought their insulated wealth protected them. This naivete is found in Olivia Manning’s depiction of a wealthy Jewish family in Bucharest in her Balkan Trilogy: with what ease the father is imprisoned, personally crushed, his property taken from his family whose best option is flight (if they can manage it).
Giorgio Bassani
The relevance here works a little differently. With the increased monopolization of all trade by a few giant corporations, the film has become one of these unaffordable super-expensive DVDS, no longer on Prime Video on Amazon (gradually such films are being removed) and available only as a blu-ray, merely now very high-priced. A 4 part film of Christ Stopped at Eboli is available only in Italian (as who would get a profit from this, so why provide translations) and at astronomical prices.
While I have my own long-time favorites in Italian poetry from the Renaissance and again the later 19th century to our own time, I’ve been introduced to new poets I hadn’t read or known about. Bassani’s style in his novel seems to be long sinewy sentences moving back and forth in time, drenched with an edgy-raw sort of nostalgia, but here is a poem by him where the emphasis falls on the here and now. The problem is what do you do when fascistic groups have taken over the land you live in and are working to do all they can to impoverish (so as to enrichen themselves) and terrify you into submission. (I cannot reprint the stanzaic form, which you can see here.)
The Racial Laws
The magnolia smack in the middle
of our Ferrara house’s garden is the very
same that reappears in almost every
book of mineWe planted it in’39
ceremoniously
just a few months after
the Racial Laws were brought to bear
it was a solemn-comical affair all of us
fairly lighthearted God permitting despite
being encumbered with the dull historical appendix
JudaismWalled-in by four walls forewarned
Soon enough it grew
black luminous wide-rimmed
pointing decisively up towards the imminent
sky
full day
and night with grey
sparrows dusky blackbirds
unflaggingly scanned from below by pregnant
cats and by my
mother—
she too confined defenceless behind
the windowsill forever brimming
with her crumbsStraight as a sword from its base to its tip
twenty-some years on
it overtops the neighboring roofs
beholding every bit of the city and the infinite
green space that circles it
but now somehow stumped I can guess
how it feels unsure
of a stretch up there in the heights a narrow space
in the sun
like someone at a loss
after a long journey
as to which road to take or
what to do
— Giorgio Bassani, tr. James McKendrick
Felice Casorati — untitled
Ellen
The original Italian:
LE LEGGI RAZZIALI di Giorgio Bassani
La magnolia che sta giusto nel mezzo
del giardino di casa nostra a Ferrara e’ propria lei
la stessa che ritorna in pressoche’ tutti
i miei libri
La piantammo nel ‘39
pochi mesi dopo la promulgazione
delle leggi razziali con cerimonia
che riusci a meta’ solenne e a meta’ comica
tutti quanti abbastanza allegri si Dio
vuole
in barba al noioso ebraismo
metastorico
Costretta fra quattro impervie pareti
piuttosto prossime crebbe
nera luminosa invadente
puntando decisa verso l’imminente
cielo
piena giorno e notte di bigi
passeri di bruni merli
guatati senza riposo giu’ da pregne
gatte nonche’ da mia
madre
anche essa spianate indefessa da dietro
il davanzale traboccante ognora
delle sue briciole.
Dritta della base al vertice come una spada
ormai fluoresce oltre i tetti circostanti ormai puo’ guardare
la citta’ da ogni parte e l’infinito
spazio verde che la circonda
ma adesso incerta lo so lo
vedo
d’un tratto espansa lassu’ sulla vetta d’un tratto debole
nel sole
come che all’improvviso non sa raggiunto
che abbia il termine d’un viaggio lunghissimo
la strada da prendere che cosa
fare
For Natalia Ginzburg, see especially A Voice of the Twentieth Century, edd A.M. Jeannet and G. Sanguinetti Katz
Primo Levi’s family has resisted biographers so there are problems in those accounts available; I like (as very full) Myriam Anissimov: Primo The Tragedy of an Optimist.
Interesting, our readings have overlapped somewhat lately: after reading Ginzburg’s Family Lexicon, I went on to read various books by Cesare Pavese (The Moon and the Bonfires; Selected Works, NYRB press). The Bassani I had read before and has been on my mind ever since the “Arab travel ban” shortly after Trump was elected. In keeping with WW2 and post-WW2, earlier this year I read Olivia Manning’s Balkan Trilogy and Levant Trilogy, and am currently watching the tv series Un village français, which I think would really appeal to you as well.
I have followed your blog for a few years, ever since I found you when looking for critical thought on Poldark (both TV and books), and I’ve come to enjoy your reviews and trust your recommendations immensely. Thank you for sharing these books with us — the similarity in our recent reads really makes me think we are both tapping into the same zeitgeist.
We appear to be turning to similar authors and films. I am watching Un village francais just now too. In Boyers’ book of poems, she has one where her fictionalized (but accurate) Ginzburg takes Pavese to task for killing himself. I have one of his books – in Italian.
Thank you so much for the praise of my Poldark blogs. I know there are people who see value in my essay-postings. I found that they were not welcome on the fan Poldark pages by those running the pages so stopped
posting there.
I shall look Seghers up. I love it when a fine book is turned into a good film, especially when both are women.
I live in the US; the situation is much worse here than it need have been because of the way the federal gov’t has behaved — very destructively under Trump, who of course I have in mind as well as the behavior of his regime when I refer to fascism. Click on the first reference and you will find Masha Gesslen’s warning essay this week in the New Yorker.
Oh! I also just finished Anna Seghers’ Transit, a book about escaping war and fascism, and recently made into an excellent m, if loose, film adaptation by one of my favorite directors, Christian Petzold. I would love to know what you think of either of them.
Thank you for this wonderful post. I’ve read three of the books here and have the Ginzburg tbr. And thanks also for the hint re the Weaver book – I may have to check this out.
I enjoy your postings so, sometimes buy the book and read it myself, I am glad to be able to return the gifts.
Another on-line poem by Bassani with an English translation as parallel text:
https://paralleltexts.blog/2018/03/01/gli-ex-fascistoni-di-ferrara-the-ex-fascists-of-ferrara-by-giorgio-bassani/
It’s also read aloud by Bassani until a point where someone interrupted and ferociously protested against the point of view in the poem — the same as in “The Memorial Tablet.”
Ellen