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The Skin (New York Review Books Classics) av…
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The Skin (New York Review Books Classics) (urspr publ 1949; utgåvan 2013)

av Curzio Malaparte (Författare)

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
8102126,921 (3.9)14
"'It is a shameful thing to win a war.' The reliably unorthodox Curzio Malaparte's own service as an Italian liaison officer with the Allies during the invasion of Italy was the basis for this searing and surreal novel, in which the contradictions inherent in any attempt to simultaneously conquer and liberate a people beset the triumphant but ingenuous American forces as they make their way up the peninsula. Malaparte's account begins in occupied Naples, where veterans of the disbanded and humiliated Italian army beg for work, and ceremonial dinners for high Allied officers or important politicians feature the last remaining sea creatures in the city's famous aquarium. He leads the American Fifth Army along the Via Appia Antica into Rome, where the celebrations of a vast, joy-maddened crowd are only temporarily interrupted when one well-wisher slips beneath the tread of a Sherman tank. As the Allied advance continues north to Florence and Milan, the civil war intensifies, provoking in the author equal abhorrence for killing fellow Italians and for the "heroes of tomorrow," those who will come out of hiding to shout "Long live liberty" as soon as the Germans are chased away. Like Celine, another anarchic satirist and disillusioned veteran of two world wars, Malaparte paints his compatriots as in a fun-house mirror that yet speaks the truth, creating terrifying, grotesque, and often darkly comic scenes that will not soon be forgotten. Unlike the French writer however, he does so in the characteristically sophisticated, lush, yet unsentimental prose that was as responsible for his fame as was his surprising political trajectory. The Skin was condemned by the Roman Catholic Church, and placed on the Index Librorum Prohibitorum. "--… (mer)
Medlem:pclark22
Titel:The Skin (New York Review Books Classics)
Författare:Curzio Malaparte (Författare)
Info:NYRB Classics (2013), Edition: Main, 368 pages
Samlingar:Ditt bibliotek
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Taggar:Ingen/inga

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The Skin av Curzio Malaparte (Author) (1949)

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» Se även 14 omnämnanden

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"You think that's air you're breathing?" — Wachowski

Un-mediated post-war writing, when not vying for absolute-zero matter-of-factness (such as in Primo Levi's high-fidelity text), is always trying to write as grim as possible. Is it success or failure when the failure to be grim is read as a grim failure.

We already know that it is possible to be destroyed for nothing at all (most cases in the private holocaust some call "History"). The notion that, "certain horrible and life-scarring experiences actually make you a worse person," is also well-trafficked. Though what of the other category: of those who have not been destroyed enough, i.e. the vulgar sense of the phrase, "More Annihilated Than Repentant." (I may have finally discovered the source of this phrase in Kierkegaard's Stage on Life's Way in a footnote indicating Leibniz's apocryphal Baron Andrè Taifel who had a satyr and a similar inscription on his coat of arms, (though this I have not yet myself confirmed.))

When the most abject humiliation the author can imagine is the pay-per-view (paper view) scene of an Italian woman exposing her lower half beneath a figure of the Virgin (Mary), ideology has already fallen back onto a wound (though it appears clear as air). For such men, "it is easier to imagine the end of the world, the holocaust, (and the end of capitalism) than the end of misogyny." Given this, it is evident the author has not been whipped enough. We want to get it out of him, perhaps by whipping even more, though always with knowledge that whipping has never cleansed an ideology. ". . . But maybe just this once. . ." Though it may be, as is more frequently the case, that "[we] like to whip [...] and are always working to find a pretext. . ."

Either way, as we deliberate, Malaparte's Pathos becomes "black-comedy" and is rapidly fermenting (ideological-ferments) into Bathos. Episodes of there's-a-hand-in-my-soup, and this-flattened-corpse-is-the-flag-of-Europe are emblematic here. It is no longer possible (if it has ever been possible) to grimace and shout in earnest: "They think they are fighting and suffering to save their souls, but in reality they are fighting and suffering to save their skins, and their skins alone." Per Adorno, 'the grimace is false because it admits too readily what we know to be true.' Thomas Bernhard is better (and more grim) when he writes, “We’re so arrogant that we think we’re studying music whereas we’re not even capable of living,” How grim is it that, even after imprisonment by fascists (per wikipedia) our author cannot get even as grim as this.

Conversations with General Cork on the Via Appia Antica are reminiscent of Madame Bovary at the Agricultural Fair, though Malaparte doesn't lick Flaubert's toes.

It may be true what Althusser says about Hegel: that it had not been possible to decipher him until Marx wrote Capital. Sometimes a text can only be illuminated in retrospect (perhaps this is reason to keep writing). For other texts, destruction by what comes along later is more common. Though, I have never seen a text more destroyed by The Simpsons than this book, which, unhappily, concludes (in a scene of great Pathos): 'and I saw one of the babies and the baby looked at me.' ( )
  Joe.Olipo | Sep 19, 2023 |
Viaggio al termine della .... per che cosa?

Il colonnello Palese prese a parlare, disse: "Vi presento il vostro nuovo capitano..." e mentre parlava io guardavo quei soldati italiani vestiti di uniformi tolte ai cadaveri inglesi, quelle mani esangui, quelle labbra pallide, quegli occhi bianchi. Qua e la', sul petto, sul ventre, sulle gambe, le loro uniformi erano sparse di nere chiazze di sangue. A un tratto mi accorsi con orrore che quei soldati erano morti. Mandavano un pallido odore di stoffa ammuffita, di cuoio marcio, di carne seccata al sole. Guardai il colonnello Palese, anch'egli era morto. (9)

Ed io continuavo a salire su per l'angelica scala trionfale che affondava dritta nel cielo, in quel cielo marcio da cui lo scirocco strappava brandelli di pelle verdastra, e spargeva roco sul mare. (51)

"Non e' accaduto nulla, in Europa" dissi.
"Nulla?" disse il Generale Guillaume "e la fame, i bombardamenti, le fucilazioni, i massacri, l'angoscia, il terrore, tutto questo e' nulla per voi?"
"Oh, questo e' niente" dissi ' sono cose da ridere, la fame, i bombardamenti, le fucilazioni, i campi di concentramento tutte cose da ridere, sciocchezze, vecchie storie. In Europa, queste cose le conosciamo da secoli. Ci siamo abituati, ormai. Non sono queste le cose che ci hanno ridotti cosi'."
"Che cosa, dunque, vi ha ridotti cosi'?" disse il Generale Guillaume con voce un po' rauca.
"La pelle."
"La pelle? quale pelle?" disse il Generale Guillaume.
"La pelle" risposi a voce bassa "la nostra pelle, questa maledetta pelle. Voi non immaginate neppure di che cosa sia capace un uomo, di quali eroismi e di quali infamie sia capace, per salvare la pelle. Questa, questa schifosa pelle, vedete?" ... "Una volta si soffriva la fame, la tortura, i patimenti piu' terribili, si uccideva e si moriva, si soffriva e si faceva soffrire, per salvare l'anima, per salvare la propria anima e quella degli altri. Si era capaci di tutte le grandezze e di tutte le infamie, per salvare l'anima. ... Oggi si soffre e si fa soffrire, si uccide e si muore, si compiono cose meravigliose e cose orrende, non gia' per salvare la propria anima, ma per salvare la propria pelle. ..." (116-7)

"Al posto di quel povero ragazzo americano" disse il sergente socchiudendo gli occhi e stringendo i pugni "ci dovrebbe essere uno dei vostri. Perche' non li cacciate da voi i tedeschi?"
"Perche' non siete rimasti a casa vostra? Nessuno vi ha chiamati. Dovevate lasciarcela sbrigar da noi, con i tedeschi.
"Take it easy" disse il sergente con un riso cattivo "non siete buoni a nulla in Europa, non siete buoni che a morir di fame." (158-9)

"Here we never die" grido' Jack.
"What? We never dine?" grido' il Generale Cork.
"Never die?" ripete' Jack.
"Why not?" grido' il Generale Cork. "I will dine, I'm hungry! go on! go on!" (265)

Una mattina passammo il fiume e occupammo Firenze. Dalle fogne, dalle cantine, dalle soffitte, dagli armadi, di sotto i letti, dalle crepe dei muri, dove vivevano da un mese "clandestinamente", sbucarono come topi gli eroi dell'ultima ora, i tiranni di domani: quegli eroici topi della liberta', che un giorno avrebbero invaso l'Europa, per edificare sulle rovine dell'oppressione straniera il regno dell'oppressione domestica. (292) ( )
  NewLibrary78 | Jul 22, 2023 |
The author wrote under a pseudonym, perhaps because some of the stories he includes may have actually happened. He was an officer in the Italian army during WWII and writes about life in Naples when the Americans were occupying the city. Its satirical treatment has been compared with Heller's "Catch 22" and may even been darker, since the war was being fought in his own country. Though he skewers everyone he reportedly was fond of the Americans and saw them as a ray of hope for the debased post-war European cultures. ( )
  dcvance | May 4, 2021 |
Narra dell'occupazione alleata in Italia dal 1943 al 1945.

Nel romanzo, ambientato in massima parte a Napoli, Malaparte pone in contrasto l'innocenza (e ingenuità) dei soldati americani con la disperazione e corruzione degli italiani sconfitti; soprattutto mette in dubbio le facili interpretazioni moralistiche del conflitto.
  kikka62 | Jan 25, 2020 |
Malapartek gerraren izurriari eskaini zizkion hiru liburuetatik bigarrena, Larrua, gerraondoko lehen urteetan idatzia, 1949an agertu zen Italian, eta hurrengo urtean, Frantzian. "Ez da gerrateko Europaz ariko, ezbada gerraondokoaz. Krudeltasunik gabe egongo ez bada ere, ez da Kaputt bezain krudela izango; aitzitik, jostagarriagoa izango da, izugarri bezain alaigarri izango delako" idatzi zuen Malapartek, Larruaz ari zela. Aliatuek askatu/ okupatutako Napoliri buruzko kronika eleberri gisa kontatu honek polemika arras bortitza eta gaitzespenik garratzenak sortu zituen Italian, argitara atera zenean: Eliza Katolikoak liburu debekatuen indixean sartu zuen; eta hainbat italiar ospetsuk, antipatriotiko eta moralgabea iritzirik, gogorki kritikatu zuen. Geroago ere eleberriak kritika latzak eta laudorio sutsuak jaso ditu. Batzuen iritzian, Malaparte "xaboi burbuila terroristen egilea" da; beste batzuek, aldiz, XX. mendeko literatur lan onenen artean sartu ez ezik, XX. mendea hobekienik irudikatzen duen eleberria dela uste dute.
  bibliotecayamaguchi | Oct 4, 2017 |
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Deca noći donose roman Koža, koji je napisan 1949. i uvršten u popis knjiga zabranjenih za rimo-katolike.
tillagd av Sensei-CRS | ändraknjigainfo.com
 

» Lägg till fler författare (20 möjliga)

Författarens namnRollTyp av författareVerk?Status
Malaparte, CurzioFörfattareprimär författarealla utgåvorbekräftat
Ludwig, HellmutÖversättaremedförfattarevissa utgåvorbekräftat
Moore, DavidÖversättaremedförfattarevissa utgåvorbekräftat
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Se rispettano i templi e gli Dei dei vinti, i vincitori si salveranno.     Eschilo, Agamennone

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All'affettuosa memoria del Colonnello Henry H. Cumming, dell'Università di Virginia, e di tutti i bravi, i buoni, gli onesti soldati americani, miei compagni d'arme dal 1943 al 1945, morti inutilmente per la lbertà dell'Europa.
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Erano i giorni della "peste" di Napoli. Ogni pomeriggio alle cinque, dopo mezz'ora di punching-ball e una doccia calda nella palestra della P.B.S., Peninsular Base Section, il Colonnello Jack Hamilton ed io scendevamo a piedi verso San Ferdinando, aprendoci il vatcp a gomitate nella folla che, dall'alba all'ora del coprifuoco, si accalcava tumultuando in Via Toledo.
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"'It is a shameful thing to win a war.' The reliably unorthodox Curzio Malaparte's own service as an Italian liaison officer with the Allies during the invasion of Italy was the basis for this searing and surreal novel, in which the contradictions inherent in any attempt to simultaneously conquer and liberate a people beset the triumphant but ingenuous American forces as they make their way up the peninsula. Malaparte's account begins in occupied Naples, where veterans of the disbanded and humiliated Italian army beg for work, and ceremonial dinners for high Allied officers or important politicians feature the last remaining sea creatures in the city's famous aquarium. He leads the American Fifth Army along the Via Appia Antica into Rome, where the celebrations of a vast, joy-maddened crowd are only temporarily interrupted when one well-wisher slips beneath the tread of a Sherman tank. As the Allied advance continues north to Florence and Milan, the civil war intensifies, provoking in the author equal abhorrence for killing fellow Italians and for the "heroes of tomorrow," those who will come out of hiding to shout "Long live liberty" as soon as the Germans are chased away. Like Celine, another anarchic satirist and disillusioned veteran of two world wars, Malaparte paints his compatriots as in a fun-house mirror that yet speaks the truth, creating terrifying, grotesque, and often darkly comic scenes that will not soon be forgotten. Unlike the French writer however, he does so in the characteristically sophisticated, lush, yet unsentimental prose that was as responsible for his fame as was his surprising political trajectory. The Skin was condemned by the Roman Catholic Church, and placed on the Index Librorum Prohibitorum. "--

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