Italian Cultural Institute
Italian Cultural Institute, 686 Park Avenue, New York, NY 10065
Events at this location
The series continues with a
The series continues with a panel discussion that explores the experience of two Italian artists: Corrado Cagli and Costantino Nivola, who fled Fascist Italy for America and whose experience of exile become a platform to reflect upon art, cross-fertilization, and creativity.
Panelists: Giuliana Altea and Raffaele Bedarida.
Costantino Nivola and Corrado Cagli came from very different backgrounds. Nivola, from rural Sardinia, was the son of a mason, Cagli from Ancona and Rome was born into an urban and assimilated Jewish family. They shared a minority origin and the enthusiasm for participating in public life through the means of art.
While Cagli was successfully integrated into the Fascist cultural world, Nivola navigated, with equal success, milieux of mild political dissent. In 1938, the promulgation of the Racial Laws brought them both to America. Cagli had become an outcast because of his Jewishness and Nivola had frictions with the regime due to his antifascist leanings; he had also married a German Jewish woman, Ruth Guggenheim, and left Italy with her. In their new country, Cagli and Nivola found themselves among exiled artists from various countries: Gropius, Albers, Breuer, Moholy Nagy, Balanchine, Rieti, Steinberg, and many others. Cagli joins the ranks of the US Army where he confronts the horrors of the war and the Shoah. Nivola mingles with other antifascist exiles, the like of Modigliani, Toscanini, Salvemini, and Borgese. During their exile, Costantino Nivola and Corrado Cagli, each one in his own way, acted as cultural bridges between their country of origin and the US.
Giuliana Altea is an associate professor at the University of Sassari. The main focus of her research is on Italian art and applied arts of the first half of the twentieth century, on the relationship between architecture and visual arts after World War II, and on artistic exchanges between Italy and the United States in the 20th century. She has also been involved in the international debate on the integration of architecture and the visual arts, the so-called “synthesis of the arts”. Following her studies on one of the protagonists of this movement, the Italian-American sculptor Costantino Nivola – on which she has published an extensive monograph with Antonella Camarda (Nivola, The Synthesis of the Arts, Ilisso, Nuoro 2015) – Altea became president of the Nivola Foundation. In this role, in addition to curating with Antonella Camarda and Richard Ingersoll the new museum project of the Nivola Museum in Orani, Sardinia, she continued to explore the role of Nivola in the transatlantic scenario of the synthesis of the arts.
Raffaele Bedarida holds a PhD from the Art History Department of the CUNY Graduate Center, New York as well as MA and BA degrees in Art History from the Università degli Studi di Siena, Italy. He is an art historian and curator specializing in art, politics, and cultural diplomacy between Europe and America. His publications have focused on Italian Modernism from Futurism to Arte Povera in the international context. Since 2008, when he founded and curated the residency program Harlem Studio Fellowship in New York, he has actively promoted programs of international exchange for emerging artists. In addition to his academic and curatorial activities, Bedarida has regularly lectured on modern and contemporary art topics at the Solomon R. Guggenheim Museum and MoMA. After three years as an adjunct, Bedarida joined Cooper Union full-time faculty in September 2016.
Reading and panel discussion on
Reading and panel discussion on Elsa Morante’s La Storia (History, a Novel). In Italian with English translation.
Organized by Centro Primo Levi and the Italian Cultural Institute on the 80th anniversary of the promulgation of the Racial Laws and the 75th anniversary of the deportation of the Jews of Rome. Free admission
“An indictment against all the fascisms of the world. And an urgent, desperate plea addressed to everyone for a possible common awakening.”
La Storia -a towering example of literature’s power to convey the unraveling and emotional impact of historical events- chronicles, among much else, the effects of the Race Laws on daily life in Rome.
Featuring Giorgio Montefoschi, Angela Borghesi. Moderated by Alessandro Cassin. Reading by Olek Mincer.
When Elsa Morante published La Storia in 1974, it hit Italy like a storm, quickly becoming the most talked about book of the year.
In the first year, it sold, in Italy alone, a record 800,000 copies (at a time when a successful novel rarely sold more than 100,000 copies).
The book literally spellbound its readers.
Morante insisted to publish the book directly as a paperback at a popular price. For the cover, she insisted on a detail from an iconic Robert Capa image of a dead antifascist during the Spanish Civil War. Under the photo, she placed the phrase: “Uno scandalo che dura da diecimila anni.”
“A scandal that has lasted for ten thousand years”
To precisely which scandal is she referring to?
When the novel was published in English in 1977, Morante was so upset that the American edition lacked a warning paragraph, that she tried to rectify it by consenting to a simultaneous edition for the Franklyn Library First Edition Society in which she wrote a long message to the members of FFE Society.
“In the original Italian Edition, this novel, under its title History, bears the following subtitle: A scandal that has lasted for ten thousand years. These words already define the theme which the novel then develops and orchestrates. […] Glancing through any summary of World History, one discovers immediately that the vast course of human events, despite its upheaval and unevenness, displays a landscape of obsessive monotony. Historiography, no matter how much it explores, finds everywhere the same, unceasing scandal. Remote or near, every human society is discovered as a tormented field, where a squad performs violence and a throng suffers it […]
In Italy, the novel turned out to be a cultural and literary scandal, quickly dividing readers into those who hailed it as a masterpiece and those who objected to it on ideological grounds.
Before La Storia, Morante had not published a novel since L’Isola di Arturo (Arturo’s Island) in 1957. While working on La Storia, she did not give details to her publishers, husband, friends or colleagues except to say, “I am writing a novel for the illiterate.” The book, in fact, bears as an opening quotation a line from the Peruvian poet Cesar Vallejo, “Por el analfabeto a quien escribo“ (“To the illiterate for whom I write”).
A second quotation from the Gospel of Luke reads “… thou hast hid these things from the wise and prudent, and hast revealed them unto babes… for so it seemed good in thy sight.” This verse introduces another theme of the novel: the wisdom, purity and redemptive power of children.
Paul Hoffman, writing from Rome for the New York Times, reported:
“For the first time since anyone can remember, people in railroads compartments and espresso bars discuss a book—the Morante novel— rather than the soccer championship or the latest scandal. The critics write endlessly about the meaning of La Storia and the reasons for the exceptional stir it is causing”.
No post-war Italian literary work had ever been as divisive. The only precedent on a smaller scale and involving exclusively a literary debate was Tomasi Di Lampedusa’s posthumous The Leopard in 1958.
Foreign publishers quickly began to buy the rights to translations. A Spanish publisher had advanced $15,000 before Franco’s regime banned the book. In English, the rights were acquired by Alfred Knopf, who published the novel in 1977, in a translation by William Weaver, who at the time lived in Rome and was a close friend of Morante. Unfortunately, the translation was labored and almost broke their friendship.
Even the title was a challenge: La Storia in Italian means both History and the story, and the ambiguity between these two meanings is an essential element of the work. In English, it appeared as History, A Novel, in 1977 as an Alfred Knopf hardcover, and was most recently re-issued in paperback by Steerforth Press in 2000.
By 1974, Italy, torn by ideological wars that followed the uprisings of 1968, was entering a time plagued by terrorism on the left and right, “gli anni di piombo.” The critical debate over History, only thinly veiled the unsophisticated question that was being asked: Is Morante’s novel left or right wing? Is it a new popular and proletarian form of narration or a reactionary bourgeois novel? In truth, no one knew where to place this novel with its anarchist non-violent thrust and its non-Marxist reading of history. As the critic Cesare Garboli recalled:
“The controversy spread to the press. The far left daily paper Il Manifesto, was bitterly divided. The weekly L’Espresso organized pro and con polls among its critics. The weekly La Fiera Letteraria titled “Is it or isn’t it a masterpiece?”
“The whole novel is configured as a comparison between life and History: between one chapter and another of the novel (conceived as annals), there are brief inserts that summarize the objective historical events – from 1941 to 1967 written as a history manual. In the first part of the novel, this gimmick is extraordinary and I would say, “structural”, to the novel. […] Then the”effect” of the confrontation of life with history suddenly becomes lost and expires.”
After penning a negative review, Umberto Eco conceded:
“Perhaps one day we will realize that History was only seemingly a novel aimed at a general public, while in reality, it is a very cultured, very meta-literary one, who knows…”
La Storia is a multilayered novel of gargantuan ambition. One aspect, it seems to me, that has escaped critical attention is the centrality of the Race Laws of 1938. More specifically, the way the Laws impacted the children of mixed marriages, and in particular, those who — removed from direct contact with the Jewish Community — concealed their dark secret, without the relative comfort of sharing their fears and hardships with others. The female protagonist of the novel, as with the author herself, belongs to this category.
Morante describes the devastating sweep of history from the point of view of people whose existence has been reduced to a struggle for food and shelter. At the bottom of the diverse group, we find a middle age school teacher, a single mother, a half-Jew, facing the brutality of the Race Laws with no recourse at all.
Angela Borghesi is Associate Professor in the Pedagogy Department at University of Milano-Bicocca. Her approach to literature is informed by her background in the history of literary criticism. Among her publications are Una storia invisibile Morante, Ortese, Weil. Quodlibet; 2015, Genealogie. Saggi e Interpreti del 900. Quodlibet, 2011; L’officina del mondo, La Nuova Italia 1995; La lotta con l’angelo, Marsilio 1989.
Giorgio Montefoschi is a writer, literary critic, and translator. He has written sixteen novels, many of which are set in his native city of Rome. In 1994 he won the Premio Strega, Italy’s most important literary prize, with La casa del padre. He wrote his graduate thesis on writer Elsa Morante, worked for the Corriere della Sera newspaper and made cultural programs for the Italian public broadcaster RAI. His latest novel, Il buio dell’India, is an essayistic travelogue about a fascinating country and its veiled light.
Born in Lviv, Olek Mincer lives and works in Rome where he founded the Trykot Polish Theater. After receiving his training at the State Jewish Theater in Warsaw, he studied at the Studio Fersen in Rome. Mincer worked in cinema and theater with Jerzy Kawalerowicz, Peter Del Monte, Paolo e Vittorio Taviani, Mel Gibson, Agnieszka Holland and Moni Ovadia. As director, he staged many Yiddish and Polish masterpieces. He is the author of Varsavia, viale di Gerusalemme 45, and Ja, Żyd z Pasji. Mincer translated the first translation into Polish of H. Leivick’s Yiddish masterpiece Golem (Varsavia, Sic!, 2017).