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Home , Alfonso Gatto, Carlo Emilio Gadda, Valerio Zurlini, Vasco Pratolini

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II’s book on falconry, written in 1229. The research is conducted in meticulous fashion with the result that this vol - ume is indispensable as a resource for scholars interested in translation issues as well as the reception of texts. It is also a significant testament to the ongoing inter - national interest in . Healey himself recognizes the fact that an electronic version of this work would be desirable inasmuch as a digitized text would facilitate an annual update or ‘aggiornamento’ and greater possibilities for accessing the information. He concludes with these words: “It is hoped that this bibliography too will contribute to the growth of the English-speaking readership for Italian writings of all eras” (p. xxi). Robin Healey has certainly devoted a sub - stantial portion of the last twenty years or so on the research for this project, for which he is to be commended. His heroic efforts will surely be appreciated by Italianists the world over.

CORRADO FEDERICI Brock University

Beniamo dal Fabbro, scrittore. Atti della giornata di studi, Belluno, 20 0ttobre 2010. Ed. Rodolfo Zucco. Firenze: Leo S. Olschki, 2011. Pp. 161. ISBN 9788822260895. € 25.

This volume contains the proceedings from a conference that took place on October 20, 2010 in Belluno to honor Beniamino Dal Fabbro on the centennial anniversary of his birth. According to the list compiled by of one of its contribu - tors, Catia Cantini, Beniamo dal Fabbro was a poet, a , an essayist, a trans - lator, a literary and musical critic, a journalist as well as an accomplished pianist and artist (VIII). Born in Belluno on August 14 in 1910, he spent part of his childhood in where his family sought refuge during . After obtaining a law degree at the he moved to where he lived until his death on August 25, 1989. His literary career spanning over fifty years (1937-1989) culminated in a substantial corpus of writings: six poetry collections, four prose narratives, five works of music criticism, three collections of literary criticism, two travel reportages, numerous translations of both poetry and prose and articles on literature and music that appeared in a variety of journals such as Corrente , Campo di Marte , Avvenire , Milano-Sera , Il Gazzettino , L’Illustrazione ital - iana , Tempo and Il Giorno . He was the recipient of three prestigious literary prizes: in 1966 the Prize for International Poetry “Riviera dei Marmi” (ex equo with ) for his collection of translations La sera armoniosa , in 1969 the Prize “Carducci” for the collection of poetry Catabasi and in 1979 “Il Premiolino.” An active participant in the cultural life of during the most tur - bulent years of the twentieth century he belonged to its intellectual elite that included, among others, , , Leonardo Sinisgalli, , and . Despite his impressive achievements in the fields of literature and music, Dal Fabbro had never received the critical attention he merited, relegated until recent - — 267 — 11- recensioni _02Bartoli copy 12/19/12 2:45 PM Page 268

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ly to the category of “almost completely forgotten” (5). A long-time over - due “Dal Fabbro-Renaissance” began with Carla Cantini’s thesis at the University of Florence in 1999/2000 entitled Per una biografia di Beniamo Dal Fabbro (5). In 2004, his companion and heiress Gigiola Beratto donated Dal Fabbro’s entire library-archive to the Comune of Belluno. This precious collection, which reflects the personal interests of the author and his relationships with the contemporary representatives of the cultural milieu, contained books, magazines, press cuttings, manuscripts, letters, documents, diaries, pictures, recordings, librettos, piano scores, paintings and drawings as well as personal notes, dedications, ticket stubs, etc. The task of ordering, cataloging and finally transforming this wealth of mate - rial into a digital format took five years to accomplish and resulted in a user- friendly virtual “biblioteca d’autore,” granting an easy access to over 10, 000 doc - uments (6). Giovanni Grazioli’s essay “Il fondo Beniamo Dal Fabbro presso la Biblioteca Civica di Belluno” provides not only an interesting insight into the actual process that led to realizing this ambitious project but also practical usage guidelines for its readers/browsers. The model of a library, where a collection of diverse written and visual docu - ments serves to illuminate the whole figure of the writer not just dispersed or seemingly disconnected fragments, aptly captures the task of re-introducing Dal Fabbro to scholars and to the reading public. Each of the contributors in this vol - ume focuses on a specific aspect of his writings (Matilde Biondi on epistolary exchanges, Fabio Magro on the fictional prose, Rodolfo Zocco on poetry, Anna Nozzoli on the travel reportages, Silvia Contarini on the prose translations) while seeking correspondences between his texts and his life to explore the rich unity that underlies Dal Fabbro’s Weltanschauung . Catia Cantini examines this unity in “Beniamo Dal Fabbro: arte e vita di un maudit, ” noting that “La sua scrittura, puntualmente scandita da motivi d’ispirazione autobiografica, trova la sua cifra dominante nel superamento del tradizionale diaframma tra le diverse forme espressive, approdando per questa via a un felice connubio di creatività e acume critico; una scrittura che appare insomma governata dal paradigma della contami - nazione, come attesta l’occulta impronta che lega in limine tutte le opere dell’au - tore” (21). The concept of maudit , a writer in a perpetual conflict with society, and the paradigm of genre contamination constitute two key traits that characterize Dal Fabbro “scrittore.” His fierce anti-conformism and uncompromising intellec - tual honesty dominated the way he lived and wrote. He gained notoriety as a mer - ciless critic who ventured critical assaults on such cultural icons as Eugenio Montale and Maria Callas, fighting for uncensored freedom of thought and press. Matilde Biondi reports an epistolary skirmish between Dal Fabbro and the editor of Poesia satirica nell’Italia d’oggi who considered Dal Fabbro’s wittily irreverent epigram inspired by Mondale too harsh to publish in his collection (48). On a narrative level, his anti-conformism was manifested in challenging and crossing boundaries traditionally imposed on genres and registers. Another edito - rial battle, this time concerning a clear-cut generic definition, revolved around the publication of his manuscript La cravatta bianca which Dal Fabbro himself descri - bes as an intermingling of genres and themes that eludes easy classification: “Il — 268 — 11- recensioni _02Bartoli copy 12/19/12 2:45 PM Page 269

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libro, inoltre, memorialistico nei suoi aspetti formali, è sostanzialmente narrativo, e mi meraviglio che non ve ne siate accorti; il racconto va dai modi saggistici a quelli del poema in prosa, dalle storielle di poche righe a quelle più lunghe, ai frammenti d’un presumibile romanzo” (69). Thus the figure of Dal Fabbro as anti- conformist, reflected both in the autobiographical and literary dimensions, comes to life in this perceptive and eminently readable volume. It provides excellent crit - ical analyses of his writings, enriched by a vivid depiction of their cultural context. It adds a valuable contribution to his Renaissance and will, hopefully, lead not only to further critical studies devoted to Dal Fabbro’s works but also to their revival in publishing.

BARBARA ZACZEK Clemson University

Meris Nicoletto. . Il rifiuto del compromesso. Alessandria: Falso- piano, 2011. Pp. 383, ill. ISBN 9788889782163. € 22.

Best known for Il deserto dei Tartari (1976), the multi-awarded film adaptation of the eponymous novel by , Valerio Zurlini (1926-1982) is defined by Nicoletto “regista appartato” (15), absent from the list of the best maestri of Italian cinema of the Fifties and Sixties. Zurlini is grouped with Maselli, Petri, Brusati etc., but deserves to be considered beside the big names in filmmaking like Pasolini, Bertolucci and Bellocchio. In this monograph Meris Nicoletto follows chronologically Zurlini’s career from the early days of documentary in the Fifties, to his feature films (1955 to 1976) and does justice to the neglected Bolognese director. Nicoletto engages in a reappraisal of Zurlini’s cinema and explains the reason for the little critical recognition and his fall into relative obscurity: “Il suo cinema, in apparenza ‘superato’ per le tematiche affrontate, è di fatto ‘in anticipo,’ per la capacità di captare le trasformazioni sociali e i mutamenti del pensiero del suo tempo.” (12) Nicoletto finds in Zurlini’s “poetica dei sentimenti” the fil rouge that unifies his cinema, the stories of young individuals, particularly women, facing all sorts of life difficulties. The scholar also documents Zurlini’s problems in finish - ing his movies, often delayed, underfunded, rejected, precisely because they did not conform to the popular genres of the time. The book in twelve chapters, examines Zurlini’s entire oeuvre , his documen - tary production, his penchant for literary adaptations, his friendship and collabo - ration with , his interest in painting. Ample space is given to the eight feature films (to each is devoted one chapter): Le ragazze di Sanfrediano (1954) from Pratolini’s eponymous novel, Estate violenta (1959) a passionate love story set in 1943 at the end of World War II, La ragazza con la valigia (1961) a melancholy description of the tormented love story between two young people from different backgrounds, Cronaca familiare (1962), another adaptation from Pratolini, centering around the dramatic vicissitudes of two brothers, Le soldatesse (1965), Seduto alla sulla destra (1968) , La prima notte di quiete (1972), and Il deser - — 269 —