Dandelions

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The Cazalet Chronicles, as a series of novels, moves through time, and so you see the family members in the round, how they fit into a timeline. You see them and their personalities in context. terribile essere una donna, ed avere diciassette anni. Dentro non si ha che un pazzo desiderio di donarsi. Ha ragione lei di dire che le donne non valgono niente. Noi vediamo prima, ma i nostri occhi si chiudono anche prima. Scorgiamo le vette, ma, se qualcuna vi arriva, è perché ha in sé molto di virile. 3(It’s terrible to be a woman and to be seventeen. Inside there is only a crazy desire to give. You are right to say that women are worth nothing. We see first, but our eyes are closed even before. We glimpse the peaks, but if someone gets there, it’s because she has a great deal of virility.) The company's logo is a representation of the crucible – the creuset – in which all its cast-iron pots are conceived. Here, M Sallé explains, unfazed by the spitting lava behind him, 15 per cent pure pig iron is blended with 35 per cent recycled steel and 50 per cent iron, at a temperature of 1,500C for 40 minutes. If the consistency isn't perfect, subsequent enamelling will fail. The precision couldn't be further from Child's slapdashery. Fog in Manchester turns day into night at 1.30pm on Oxford Street, November 1953. Photo: WATFORD/Mirrorpix/Mirrorpix via Getty Images.

In The Cazalet Chronicles, part of the way Howard can do that is by really developing the characters, giving us multiple sides and levels. In a memoir, if the author is talking about someone else, it’s usually about what that other person did to them; how things looked from where they were sitting, figuratively speaking. Whereas with the novel, those other people can talk for themselves. And that makes for a much more lifelike experience, I think. Howard said novels were for showing people what other people are like. The judges are Joanna Biggs, Brian Dillon, Joanna Kavenna, Paul Keegan and Jacques Testard. The judges are looking for essays that explore and expand the possibilities of the essay form, with no restrictions on theme or subject matter. The Fitzcarraldo Editions/Mahler & LeWitt Studios Essay Prize aims to find the best emerging essay writers and to give them a chance to develop and showcase their talent. It also provides the winner with their first experience of publishing a book, from the planning, research and writing of it through to the editing, production and publicity stages. I suppose the increase in sales makes a difference to me in a slightly indirect sense – I’m not really impressed by lots of sales per se, but rather by the quality of the thing itself. But, of course, healthy sales means more money means that press can do more – whether that’s dedicating more resources to the same number of titles, perhaps increasing the print run, or putting that money towards new titles, recruiting new talent, devising new schemes etc…. And that’s the point at which I really start to appreciate the impact.Next, impurities are removed with a long wooden spatula. Though the factory's work is increasingly automated, this stage requires a “human touch”, M Sallé says. The liquid is transferred to a casting machine, and poured into sand moulds, formed by “male” and “female” parts that fit together as you would imagine, leaving a 3mm space. The moulds are filled at a rate of 500 an hour, with each being used only once – “so each piece is unique”, Mme Lung adds. This requires an endless supply of sand (98 per cent of which is recycled), which is stored in towering blue vats intersected by yellow pipes and steel funnels. Richard Rogers himself might have designed it. That was a good thing he did, you know?” Nonna said. “People don’t like to admit it, but it’s true.” I do always wonder about those shows about family history, like Who Do You Think You Are? I wonder how many celebrities they start looking into the family history of, but give up because they simply can’t find anything that’s going to make them cry on television. But let’s talk about your final book recommendation, which is Lea Ypi’s acclaimed Free: Coming of Age at the End of History. With respect to linguistic idiosyncrasies, I loved the influence of Natalia Ginzburg which is felt throughout in Lenarduzzi’s work as she introduces phrases at first with translation and then when they come up again the reader is already so familiar with them that they have entered into the reader’s lexicon and rightly do not need for translations to be reiterated. Initially, it was slightly irritating for me as an Italian speaker to have to skip over the English translation but I am thrilled that Lena didn’t opt to merely render her conversations with her Nonna into English and made this accessible for non-Italian speakers and I am even more thrilled to see furlan/friulano included in an English-language publication. Moreover, overall I think this approach nicely echoed Natalia Ginzburg’s approach to introducing her own family’s sayings in Lessico Famigliare.

Was this an honest correction of a perceived error in spelling on Roberto Pozzi’s part? There is ample evidence in her letters and her diaries of the couple’s plans and of their devotion to Annunzio’s memory. In a letter to Cervi from February of 1932 Antonia wrote: “E non ti ricordi di quel che abbiamo sognato, della creatura nostra, del nostro nido, del nostro sonno, della sua piccola voce?” (“And don’t you remember what we dreamed of, of our child, of our nursery, of our sleep, of his little voice?”) 12. A fragment of a letter to Cervi dated May 5th, 1933 contains these lines: “E tu che mi hai parlato come ad un’estranea - a me - al tuo amore, Antonello - alla mamma del tuo bambino” (“And that you spoke to me like a stranger – to me – to your love, Antonello – to the mother of your child.”) 13. As Roberto Pozzi edited much of her work (including her suicide note) this sleight-of-hand with Annunzio’s name appears to be willful misdirection on his part. Beautifully observed and written with heart and an infectious curiosity, Thea Lenarduzzi's Dandelions parses the complex ways in which we live out our histories and carry the past within us, through ritual, food, language and legend. Like rifling through an overflowing drawer or opening an ancient photo album, Lenarduzzi unearths glinting gems of family fiction, introducing us to a shifting cast of memorable characters whose journeys, stories and passions it's our joy to share.’ I carried the book around the house with me, meaning—I think—to read it between meals, chats and games of briscola. I left it lying about—a lazy, inchoate provocation, perhaps. And as usual, I scribbled notes in the margins and underlined more of the text than not, especially sentences that state the blatantly obvious, as if in preparation for an exam. For example:

Avrebbe desiderato dare un bambino ad Antonio Maria Cervi per compensarlo dell'inconsolabile lutto per la morte dell fratello Annunzio, poeta, caduto giovanissimo in guerra. Il bambino avrebbe infatti dovuto chiamarsi Annunzio.” ([Antonia Pozzi] would have liked to give a child to Antonio Maria Cervi to make up for the inconsolable loss of the death of Cervi’s brother Annunzio, a poet who died very young during the war. In fact, the child would have been called Annunzio.” In “Note.” Antonia Pozzi:Tutte le opera, edited by Alessandra Cenni, p. 609. This shapeshifter has gone by many names: camp fever, ague, intermittent-, swamp- or marsh-fever. Until the turn of the twentieth century, when the female Anopheles mosquito was identified as the cause of infection, the marsh air itself—heavy with the smell of stagnant water and rotting vegetation—was assumed to be poisonous. Mala aria, bad air. Paludismo, swampism, or, I suppose, swampitis. Sylvia Plath. The Unabridged Journals of Sylvia Plath, edited by Karen V. Kukil, Anchor, 2000, p. 77. I was unfamiliar with Antonia Pozzi. Born in Milan in 1912, she lived a brief life, dying by suicide in 1938. She lived during a powerful time in Italian history. It’s true that her work is significantly underrepresented in translation; it is for the most part associated with Lawrence Venuti’s Breath, and in the UK, Peter Robinson’s Poems. She left among her papers diaries, notebooks, and over 300 poems. Her poems would be altered by those who desired to present her in what they perceived as the best light. First her father would censor the work, and then Eugenio Montale would offer praise that unwittingly illustrated the cultural predicament of women writers of her time and beyond.

And, as with Family Lexicon, you have these repeating phrases. What was it? Your grandmother gives these little sighs, and say, ‘Ma no, nina.’ Like: ‘you misunderstand me.’ It’s a lovely dynamic. Five Books interviews are expensive to produce. If you're enjoying this interview, please support us by donating a small amount.And lazaretti, quarantine centers built of stone and mortar—geometry set against chaos—or ships at anchor, a safe distance from the shore; strange temporary homes for people deemed dangerous. It took a new pandemic to remind the world that the Italians—or, rather, the Venetians—gave us the word “quarantine,” from quarantena, denoting a forty-day isolation period considered, for reasons steeped in Christian belief, to be sufficient for the purification of the body.