Philosophically engaged and darkly moving, the twenty stories in Nest in the Bones span three decades from Antonio di Benedetto's wildly various career. From his youth in Argentina to his exile in Spain after enduring imprisonment and torture under the military dictatorship during the so-called "dirty war" to his return in the 1980s, Benedetto's kinetic stories move effortlessly between genres, examining civilization's subtle but violent imprint on human consciousness. A late-twentieth century master of the short form and revered by his contemporaries, Nest in the Bones is the first comprehensive volume of Benedetto's stories available in English.
In post-WWII South America, a struggling writer embarks on a murderous thought experiment to help kickstart his career in this next tale of longing from the author of Zama. The Silentiary takes place in a nameless Latin American city during the early 1950s. A young man employed in middle management entertains an ambition to write a book of some sort. But first he must establish the necessary precondition, which the crowded and noisily industrialized city always denies him, however often he and his mother and wife move in search of it. He thinks of embarking on his writing career with something simple, a detective novel, and ponders the possibility of choos- ing a victim among the people he knows and planning a crime as if he himself were the killer. That way, he hopes, his book might finally begin to take shape. The Silentiary, along with Zama and The Suicides, is one of the three thematically linked novels by Di Benedetto that have come to be known as the Trilogy of Expectation, after the dedication “To the victims of expectation” in Zama. Together they constitute, in Juan José Saer’s words, “one of the culminating moments of twentieth-century narrative fiction in Spanish.”
According to many informed observers, the Church is in the midst of the most serious crisis it has ever undergone. More and more questions keep arising about what really happened in 2013 with the surprising “resignation” of Benedict XVI, his decision to remain on as “pope emeritus,” and thus the presence of two popes living side-by-side. Why had the papacy of Benedict XVI become a sign of contradiction? What was happening on the geopolitical level? Who supported a “revolution” within the Catholic Church? Did, in fact, Pope Benedict truly resign? These are the questions Antonio Socci tries to answer, in what can only be described as an exciting “thriller,” closely scrutinizing the facts, along with the actions and words of Benedict XVI over the past six years, and concluding that he remains pope, a fact that has as-yet-unexplored consequences. In this compelling and well-documented work, Socci investigates the mysterious mission to which Benedict XVI has felt called in service of the Church and the world. The author hypothesizes that supernatural events may lie at the root of Benedict’s choice. In this vein, the reader is directed to an ancient prophecy in need of deciphering in relation to Benedict XVI, as well as a new, unpublished account of words spoken by the Blessed Virgin Mary at Fatima, which concern not only the Church but the whole world.
An NYRB Classics Original First published in 1956, Zama is now universally recognized as one of the masterpieces of modern Argentine and Spanish-language literature. Written in a style that is both precise and sumptuous, weirdly archaic and powerfully novel, Zama takes place in the last decade of the eighteenth century and describes the solitary, suspended existence of Don Diego de Zama, a highly placed servant of the Spanish crown who has been posted to Asunción, the capital of remote Paraguay. There, eaten up by pride, lust, petty grudges, and paranoid fantasies, he does as little as he possibly can while plotting his eventual transfer to Buenos Aires, where everything about his hopeless existence will, he is confident, be miraculously transformed and made good. Don Diego’s slow, nightmarish slide into the abyss is not just a tale of one man’s perdition but an exploration of existential, and very American, loneliness. Zama, with its stark dreamlike prose and spare imagery, is at once dense and unforeseen, terse and fateful, marked throughout by a haunting movement between sentences, paragraphs, and sections, so that every word seems to emerge from an ocean of things left unsaid. The philosophical depths of this great book spring directly from its dazzling prose.
This is the compelling and inspirational true story of a medical doctor who lived in the 20th century and is now a canonized saint. Giuseppe Moscati, physician, medical researcher, and teacher in Naples, Italy, came from an aristocratic family and devoted his medical career to serving the poor. He was also a medical school professor, and a pioneer in the field of biochemistry whose research led to the discovery of insulin as a cure for diabetes. Moscati regarded his medical practice as a lay apostolate, a ministry to his suffering fellowmen. Before examining a patient or engaging in research he would place himself in the presence of God. Moscati treated poor patients free of charge, and would often send them home with an envelope containing a prescription and a 50-lire note. He could have pursued a brilliant academic career, taken a professorial chair and devoted more time to research, but he preferred to continue working with his beloved patients and to train dedicated interns. To his many medical students he taught by the witness of his life to practice their profession in a spirit of service, because "suffering should be treated not as just pain of the body, but as the cry of a soul, to whom another brother, the doctor, runs to with the ardent love of charity . . . They are the faces of Jesus Christ, and the Gospel precept urges us to love them as ourselves." "This man whom we will invoke as a saint of the universal Church appears to us as a concrete realization of the ideal of the Christian layman. Giuseppe Moscati, head physician of a hospital, a renowned researcher, a university instructor of human physiology and chemistry, performed his many and various tasks with all the commitment and seriousness that the practice of these delicate lay professions requires." - Pope John Paul II, Homily at the Canonization of Giuseppe Moscati
Painters, draftsmen, goldsmiths, sculptors, and designers, the Pollaiuolo brothers of fifteenth-century Florence produced some of the most beautiful works of the Italian Renaissance.
Antonio Negri, one of Italy's most influential and controversial contemporary philosophers, offers in this book a radical new interpretation of the nineteenth-century Italian poet Giacomo Leopardi. For Negri, Leopardi is not the bitter, idealistic individualist of conventional literary history, but rather a profoundly materialist thinker who sees human solidarity as the only possible solution to the catastrophes of history and politics. Negri traces Leopardi's resistance to the transcendental idealism of Kant and Hegel, with its emphasis on reason's power to resolve real antagonisms into abstract syntheses, and his gradual development of a sophisticated poetic materialism focused on the constructive power of the imagination and its "true illusions." Like Nietzsche (who admired him), Leopardi provides an alternative to modernity within modernity, expressing a force of rupture and recomposition—a uniquely Italian one—that is as relevant now as it was in the nineteenth century, and which connects to the theory of Empire as the political constitution of the present that Negri has elaborated in collaboration with Michael Hardt.
Antonio Gramsci is widely celebrated as the most original political thinker in Western Marxism. Among the most central aspects of his enduring intellectual legacy is the concept of subalternity. Developed in the work of scholars such as Gayatri Spivak and Ranajit Guha, subalternity has been extraordinarily influential across fields of inquiry stretching from cultural studies, literary theory, and postcolonial criticism to anthropology, sociology, criminology, and disability studies. Almost every author whose work touches upon subalterns alludes to Gramsci’s formulation of the concept. Yet Gramsci’s original writings on the topic have not yet appeared in full in English. Among his prison notebooks, Gramsci devoted a single notebook to the theme of subaltern social groups. Notebook 25, which he entitled “On the Margins of History (History of Subaltern Social Groups),” contains a series of observations on subaltern groups from ancient Rome and medieval communes to the period after the Italian Risorgimento, in addition to discussions of the state, intellectuals, the methodological criteria of historical analysis, and reflections on utopias and philosophical novels. This volume presents the first complete translation of Gramsci’s notes on the topic. In addition to a comprehensive translation of Notebook 25 along with Gramsci’s first draft and related notes on subaltern groups, it includes a critical apparatus that clarifies Gramsci’s history, culture, and sources and contextualizes these ideas against his earlier writings and letters. Subaltern Social Groups is an indispensable account of the development of one of the crucial concepts in twentieth-century thought.
“What the future fortunes of [Gramsci’s] writings will be, we cannot know. However, his permanence is already sufficiently sure, and justifies the historical study of his international reception. The present collection of studies is an indispensable foundation for this.” —Eric Hobsbawm, from the preface Antonio Gramsci is a giant of Marxian thought and one of the world’s greatest cultural critics. Antonio A. Santucci is perhaps the world’s preeminent Gramsci scholar. Monthly Review Press is proud to publish, for the first time in English, Santucci’s masterful intellectual biography of the great Sardinian scholar and revolutionary. Gramscian terms such as “civil society” and “hegemony” are much used in everyday political discourse. Santucci warns us, however, that these words have been appropriated by both radicals and conservatives for contemporary and often self-serving ends that often have nothing to do with Gramsci’s purposes in developing them. Rather what we must do, and what Santucci illustrates time and again in his dissection of Gramsci’s writings, is absorb Gramsci’s methods. These can be summed up as the suspicion of “grand explanatory schemes,” the unity of theory and practice, and a focus on the details of everyday life. With respect to the last of these, Joseph Buttigieg says in his Nota: “Gramsci did not set out to explain historical reality armed with some full-fledged concept, such as hegemony; rather, he examined the minutiae of concrete social, economic, cultural, and political relations as they are lived in by individuals in their specific historical circumstances and, gradually, he acquired an increasingly complex understanding of how hegemony operates in many diverse ways and under many aspects within the capillaries of society.” The rigor of Santucci’s examination of Gramsci’s life and work matches that of the seminal thought of the master himself. Readers will be enlightened and inspired by every page.
Philosophically engaged and darkly moving, the twenty stories in Nest in the Bones span three decades from Antonio di Benedetto's wildly various career. From his youth in Argentina to his exile in Spain after enduring imprisonment and torture under the military dictatorship during the so-called "dirty war" to his return in the 1980s, Benedetto's kinetic stories move effortlessly between genres, examining civilization's subtle but violent imprint on human consciousness. A late-twentieth century master of the short form and revered by his contemporaries, Nest in the Bones is the first comprehensive volume of Benedetto's stories available in English.
(fragmento del prólogo del autor): AB OVO O INCOACIÓN PENSANDO EN Los desafortunados DE B.S. JOHNSON QUE ENCERRADO EN UNA CAJA DE BRONCE SE SUICIDÓ EN 1973 PORQUE, COMO ÉL DIJO, YA HABÍA ESCRITO TODO LO QUE TENÍA QUE ESCRIBIR [...] POR ESTO B.S. JOHNSON PUSO FIN A LA FICCIÓN Y ABANDÓ LA VIDA; O ALEJANDRA PIZARNIK QUE EN LA MADRUGADA DEL 25 DE SEPTIEMBRE DE 1972, ESCRIBIENDO EN SU PIZARRA NEGRA Y DE PERFIL MIRANDO EL CABALLO PARA LA PORTADA DE SU LIBRO Nombres y figuras, SÍ, EN AQUELLA MADRUGADA DEJÓ DE ESCRIBIR Y DE MIRAR EL CABALLO QUE DIBUJÉ PARA ELLA; O EDWARD STACHURA QUE EL 3 DE MARZO DE 1978 ME ESCRIBIÓ DESDE LA RUE DES VINAIGRIERS, DE PARÍS, PIDIÉNDOME CONVIVIR CONMIGO EN UN RINCÓN DE MI ESTUDIO DEL CARRER DELS CÒDOLS (YO LE CONTESTÉ A VUELTA DE CORREO QUE SÍ, QUE PODÍA VENIR); PERO PASARON LOS DÍAS Y HOY TODAVÍA LO ESTOY ESPERANDO: ÉL REGRESÓ A POLONIA Y EL 24 DE JULIO DE 1979 EN WARSZAWA DIJO ADIÓS A LA VIDA POR PROPIA VOLUNTAD. EN FIN, ESTE AB OVO O INCOACIÓN ES EL TÍTULO GENERAL PARA VISITAR Y LEER LAS PÁGINAS CON LAS QUE ARRANCA LA NARRACIÓN Diario de un artista suicida.?
The year 1932, the tenth anniversary of Mussolini’s March on Rome, was fascism’s Decennale. Commemorating Italian fascism’s seizure of power, the Decennale was celebrated by the regime in a deliberate attempt to radicalize the original movement and develop it into an imperial and racist regime. In Mussolini’s Decennale, Antonio Morena explores a cross-section of Italian culture during the Decennale. Studying literature, speeches, documentaries, films, textbooks, and the 1932 Exhibition, he discusses how the regime, its patrons, and even its critics all appropriated the historical events of 1922 for their political advantage. Positioning the 1932 anniversary celebrations as the crux of the fascist transition from conservatism to totalitarianism, Mussolini’s Decennale broadens our understanding of fascist ideology, cultural politics, and Realpolitik.
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