Letters from London and EuropeHardback
List price $23.48
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- Publisher: Alma Books Ltd
- Format: Hardback | 288 pages
- Dimensions: 138mm x 216mm x 30mm | 440g
- Publication date: 1 May 2011
- Publication City/Country: Surrey
- ISBN 10: 1846881110
- ISBN 13: 9781846881114
- Illustrations note: Illustrations, ports., facsims.
- Sales rank: 179,017
"The Leopard", published posthumously in 1958, was one of the most important works of fiction to appear in the Italian language in the twentieth century. Between 1925 and 1930, its author, Giuseppe Tomasi di Lampedusa, wrote a number of letters to his cousins Casimiro and Lucio Piccolo in which he describes his travels around Europe (London, Paris, Zurich, Berlin). The letters, here published for the first time, display much of Lampedusa's distinctive style present in his later work; not only the razor sharp introspection, but also a wicked sense of humor, playful in its description of the comedie humaine. United and underpinned by the genre of the novel, Lampedusa's lifetime obsession, some letters also read like excerpts from a Stendhalian travel journal, whilst others are pickwickian adventures populated with comic, exaggerated personalities.
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Giuseppe Tomasi di Lampedusa, Duke of Palma and Prince of Lampedusa, was born in Palermo, Sicily in 1896. Other than three articles that appeared in an obscure Italian journal in 1926-27, Lampedusa was unpublished in his own lifetime. He began The Leopard, his only novel, in 1954, at the age of 58. When he died aged 61 in 1957, the completed manuscript for The Leopard had received only rejections from publishers.
By bobbygw 03 Dec 2010
Famous for his 20th century classic, The Leopard - and Visconti's wonderfully evocative film of the same, with Burt Lancaster - this slim collection of Lampedusa's letters, mostly his two favourite cousins, is a delicious, quirky and charming epistolary treat. Quirky because his deep learning typically combined with his often scatological, irreverent humour (most notably, there are some very funny letters written in the style of a proprietor of numerous models of high-quality testicles to gentlemen in such need), and the fact that he referred to himself in his letters in the third person, as The Monster (because of his voluminous appetite for reading; the title was given to him by his cousin and poet, Lucio Piccolo, one of the recipients of the letters).
Lampedusa was a deeply cultured man, loving - and being immersed in - literature ancient, medieval and modern, especially Italian, English and French. (He wrote a 1,000-page study of English Literature, published in 1990-1991 by the Italian firm Mondadori; he also wrote an incomplete, densely handwritten 500 pages for an intended follow-up study of French literature.) He also loved the cinema, architecture, and bespoke clothes.
If this collection was not already a sufficient joy for Lampedusa's sense of humour and impressive sweep of literary references, and his easy display of learning and culture with an always light touch, he's also terrific at capturing the essence of a place he visits. And with great relish he conveys his tremendous Epicurean sensibilities:
"But the Monster, as he has already given you to understand, contains in himself not only an angel, but also a pig - of which he is proud. And as a pig he appreciates and rejoices in fleshly pleasures. At times the Spartan simplicity of the pure English cuisine terrifies him. But more often he is delighted - whether he is drinking, as he is today, thick buttery milk which leaves a trace of cream in the cup, whether he is biting bloody steaks which pass on to him the vigour of noble and select young bulls, whether he is tasting large thick slices of rosy ham, lying on beds of soft real bread and coming from the heraldic loins of the illustrious hogs of Yorkshire, whether again at the end of the meal, sinking a greedy spoon into the supplies of the lordly cheeses of Chester, rosy as onyx, or Stilton, green as aquamarine, or Cheddar, transparent and amber-coloured. Because here cheese is not served in prosaic slices, but whole cheese are brought to the table, and the dilettante (I was about to say the lover) digs into the tasty recesses, rummages in them with a horn spoon and tries them out. And the waiters are often so incautious as to leave the multicoloured treasures in front of the Monster and their eyes pop out when, instead of three cheeses of about ten kilos each, they find only three fragrant but empty shells."
Isn't that just wonderful? I get hungry every time I read it and even now am fantasising about chomping on a giant wheel of cheese.
Sadly, an occasional snobbery does come in matters of certain social classes and individuals, and he can be quite (though rarely horribly) cruel in some of his characterisations; these are forgivable, but what is far from palatable is his unquestioning support of Il Duce and fascism, and his barely concealed abhorrence of Jews (at one point he cites the Russian progroms as an example of "Russian wisdom").
Still, a fascinating insight into a way of life and living that Lampedusa already knew was on the cards (Sicilian aristocracy, and the aristocratic way of life in general).
As to the quality of the publication itself, there's no complaint, save one absolutely almighty one: It is the infuriatingly stupid way in which each note to a particular reference in the letters has - instead of being numbered - been itemised with an asterisk. As you turn the pages, and the notes inevitably accumulate, you find yourself being advised to - as an example - 'See first note to p.43' - to return you to the original note in which that particular reference occurred. But then you turn to p.43 and find that it is not note you are referred to, but the first occurrence of that reference, so then you have to go to the turn the pages of that individual letter's notes, on p.53, for an explanation of that note! Bloody, hugely frustrating. I can understand completely why the editor wanted to be economical and avoid repeating the same note - after all, extra pages bump up the cost of publishing a book, and this collection may perhaps only interest the most devoted of Lampedusa fans (I hope not, it's well worth the read), but then why weren't all the notes itemised with numbers, so that you could be told to, in the same example, 'See note 1 on p.53' - simple, surely?