{"id":5951,"date":"2024-02-29T22:35:20","date_gmt":"2024-02-29T22:35:20","guid":{"rendered":"https:\/\/primolevicenter.org\/printed-matter\/?p=5951"},"modified":"2024-04-08T03:08:33","modified_gmt":"2024-04-08T03:08:33","slug":"on-amelia-rossellis-sleep","status":"publish","type":"post","link":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/","title":{"rendered":"On Amelia Rosselli\u2019s \u201cSleep\u201d"},"content":{"rendered":"

Whose (Who\u2019s) Shakespeare? On Amelia Rosselli\u2019s \u201cSleep\u201d<\/h4>\n
\nTaylor Yoonji Kang, LA Review of Books
\n<\/a>\r\n\t \t\t
Taylor Yoonji Kang is a PhD student in the combined program in Comparative Literature & Early Modern Studies, where she works on the emergence of various languages for \u201cperspective\u201d in the early modern period. Bringing together interventions from post-structural anthropology, history of science, intellectual history, literature, and visual culture, she argues that our understandings of perspective are grounded in mythologies of \u201cthe real\u201d deriving from the Renaissance and its various appropriations and articulations in the 19th and 20th centuries.<\/div>\n<\/div><\/div>\n
\n
\n

\u201cYou are a stranger here,<\/a>\u201d declares the opening poem of Amelia Rosselli\u2019s slim volume Sleep <\/em>(2023), \u201cand have no place among us.\u201d This address comes between invocations of the \u201ccool sweet fragrance\u201d of \u201cburnt\u201d incense, of the work of \u201cfat\u201d and \u201ctender\u201d hands letting a hatchet cut \u201cslittingly\u201d into flesh-like dirt, of souls absconding to meet their \u201cMaker\u201d as fuel burns without end on earth\u2014all antinomies that call to mind the Petrarchan tropes of waking and dozing, freezing and burning, falling and flight. Petrarch, like the author of these lines, was an exile, but these poems soon unravel into pseudo-archaic verses that evoke the brightest stars of the English Renaissance and their own riffs on the Petrarchan sonnet, from John Donne to Shakespeare. \u201cThe moment has come for a public of Anglo-American readers to grapple with these texts,\u201d opined the critic-translator Jennifer Scappettone more than a decade ago.<\/p>\n

Perhaps that moment is, at last, now. In November, NYRB Poets reissued Amelia Rosselli\u2019s Sleep<\/em>,<\/a> the arcane, sole English-language collection of one of the most important Italophone postwar poets. Though little known among Anglophone readers, Rosselli is part of the Italian canon. Here, the bibliographic is instructive: she was canonized as one of \u201cthe greats\u201d in Pier Vincenzo Mengaldo\u2019s important 1977 Poeti italiani del Novecento <\/em>(\u201cItalian Poets of the Twentieth Century\u201d); in 2012, a Meridiano\u2014one of the most prestigious Italian editorial collections\u2014was dedicated to her work; and now, her poems populate literature textbooks used throughout Italian high schools.<\/p>\n

But Rosselli\u2019s poetic idiom pushes against established, ethno-nationalist conventions of what we often understand to be \u201cItalian,\u201d or, for that matter, \u201cEnglish.\u201d Reared in a storm of American and British English, Italian, and French\u2014and versed in German, Arabic, Hebrew, Ancient Greek, and Latin\u2014Rosselli bristled throughout her life at Italians noting her \u201coff\u201d pronunciation, or critics remarking upon her distorted, jumbled English: nouns used as verbs, verbs without subjects.<\/p>\n

For her critics who interpreted these grammatical slippages as unintentional, the republication of Sleep<\/em> through a prestigious American imprint declares otherwise. Penned in spurts between 1953 and 1966, the untitled poems that comprise Sleep<\/em> were never published together until the 2012 Meridiano: in 1966, several poems appeared in John Ashbery\u2019s Art and Literature<\/em> and The Times Literary Supplement<\/em>; in 1989, 20 poems were published as Sonno-Sleep (1953\u20131966)<\/em> with Antonio Porta\u2019s Italian translations; and in 1992, the scholar Emanuela Tandello translated a bilingual edition of 88 of the poems as Sleep: Poesie in inglese<\/em>. Up until now, Sleep<\/em> as a whole has been unavailable outside of Italy. This long overdue publication, along with Barry Schwabsky\u2019s elegant introduction, then, calls for a revisit to Rosselli\u2019s poetic project. What might we have to learn from this singular poet\u2019s experiment in English-ing?<\/p>\n

Amelia Rosselli was born in Paris, in 1930, to exiled parents. Her mother, Marion Catherine Cave, was an English activist, and her father, Carlo Rosselli, a noted Italian socialist and leader of the anti-fascist Giustizia e Libert\u00e0 (Justice and Liberty). In 1937, Carlo and his brother Nello were assassinated under Mussolini\u2019s orders by members of the French fascist Cagoule, a loss that would haunt Amelia for the rest of her life. Following the brothers\u2019 deaths, the remaining Rossellis relocated to Upstate New York, where Amelia Rosselli attended Mamaroneck High. After graduating, she moved to London, and then settled in postwar Rome, where she would spend most of her adult life. Not just a well-respected poet, she was also a translator, musician, and ethnomusicologist. She translated American poets such as Emily Dickinson and Sylvia Plath, and was accepted into the prestigious Darmstadt School, where she collaborated with vanguards like John Cage and Karlheinz Stockhausen. Repeated hospitalizations plagued her throughout her life, and her alienating experiences of illness and institutionalization informed her peculiar poetics, thematized most overtly in the 1963\u201365 Serie ospedaliera<\/em> (Hospital Series<\/em>) but present in all her work. On February 11, 1996, at the age of 66, Rosselli leapt from the window of her fifth-floor Rome apartment, 33 years to the day after Sylvia Plath had stuck her head in a gas oven.<\/p>\n

Writing a concise introduction to Rosselli is a challenge because one is forced to negotiate the truisms that have been parroted to no end\u2014the schizophrenia diagnosis, the hospitalizations, the critical-biographical connections to Plath\u2014alongside the sharp rebukes that Rosselli made of such characterizations throughout her life. She disliked self-pathologizing, claimed she was the target of the CIA\u2019s manipulations, and denounced Plath\u2019s confessionalism as self-involved and incapable of escaping the egoism of the \u201cI.\u201d In a 1963 piece, Pier Paolo Pasolini, a lifelong correspondent with whom Rosselli shared her work, praised her poems, using the Freudian term \u201clapsus\u201d\u2014a subconscious slip rather than an active<\/em> choice. Though Pasolini\u2019s discussion of her work was more nuanced, this gendered association between unconscious female genius and Rosselli has, unfortunately, lingered. In the same piece, Pasolini goes on to describe Rosselli as a \u201csort of stateless person [apolide<\/em>] from the great familial traditions of Cosmopolis.\u201d Rosselli voiced distaste at Pasolini\u2019s characterization of her poetics as cosmopolitan, noting that cosmopolitanism was a choice, whereas she was a refugee. Discussing Rosselli, we\u2019re often forced to reproduce a good deal of what has been said about her in spite of what she said herself.<\/p>\n

Schwabsky\u2019s excellent introduction redirects these narratives. \u201cRosselli\u2019s is [a] unique [\u2026] voice in English,\u201d he notes, \u201cstylistically alone.\u201d However singular she may be, Rosselli, Schwabsky suggests, might be put into more productive conversation with other Anglo-American poets: namely, Mina Loy, Veronica Forrest-Thomson, Anna Mendelssohn, Joyelle McSweeney, and Catherine Wagner.<\/p>\n

Rosselli\u2019s interest in the Elizabethans stems from a lifelong experiment with notions of \u201cpatria,\u201d or homeland. Born in Paris and raised in New York and London, she nonetheless chose Italian for her language and Rome as her home\u2014signifiers of the nation that executed her father and uncle. Perhaps the defining influence upon Sleep<\/em>, however, is Shakespeare. Through her strange, pseudo-Renaissance English, Rosselli name-drops Shakespearean characters and plots throughout.<\/p>\n

Antiquarian poetics have long belied regressive politick or allegorical critique, or both. Edmund Spenser penned The Faerie Queene<\/em> (1590) in an archaic English that his own contemporaries found difficult to parse, at once harboring imperialist ambitions through its narration of the founding of the British Empire and casting aspersions on Queen Elizabeth\u2019s reign. In Rosselli\u2019s deft hands, archaic turns of phrase become, as Schwabsky notes in his introduction, a \u201cparodic antiquarianism,\u201d interrogating the concept of \u201cpure\u201d patrimonies in the first place.<\/p>\n

Throughout her life, Rosselli described herself as a \u201cpoet of research\u201d (\u201cpoeta della ricerca\u201d). In observing various forms of meaning-making, she was interested in the intermingling of not only languages but also periods: to read Rosselli is to peel back traditions of canon-spanning verse, from dolce stil novo to Robert Lowell. Thumbing through Sleep<\/em>, one begins to look at words anew, to think about etymologies and trace historical meanings in order to piece together some semblance of sense.<\/p>\n

Take an example from Sleep<\/em>, which opens: \u201cFright \/ Desdemona\u2019s petticure, was all-afrantic he \/ might come off rushing on the last bus, but \/ we were ready to admire his creative genius \/ and let nothing disturb us save the chime at \/ the door-bell when it rang off at its best.\u201d Assuming that it\u2019s a noun, what is a petticure<\/em>? The neologism sounds like the English \u201cpedicure,\u201d but the spelling of \u201cpetti\u201d indicates otherwise; because of the allusion to Othello<\/em>, one is tempted to think of a \u201cpetticoat,\u201d or even just stop at \u201cpetti,\u201d or \u201cpetty,\u201d which often implies something diminutive, unimportant, often feminine. If we take \u201cpetti\u201d on its own, then we might separate the \u201ccure\u201d as well, from the Latin \u201ccura\u201d for care, or concern. Little concern. Feminine concern? Could this bring us back to the topic of pedicures, perceived as a \u201cfeminine concern\u201d? But if we consult our historical dictionaries, \u201ccure\u201d came also to mean during the English Renaissance \u201coffice,\u201d what we now know as \u201ctreatment,\u201d or even \u201cmistress\u201d; if we telescope back to Rosselli\u2019s postwar world, all these words and their connotations of labor, medicine, and marriage have gendered implications\u2014\u201cthe talking cure,\u201d female hysteria, changing social mores about relationships, and so on. We could go on and on. One interpretive choice leads into a net of other associations.<\/p>\n

As she composed Sleep<\/em>, Rosselli claimed she was interested in reimagining the gender politics of the lyric. From Petrarch\u2019s Laura to Donne\u2019s \u201cMistress Going to Bed,\u201d the lyric has long relied on gendered tropes of discardable, fickle women, what Katie Kadue has described as \u201clyric misogyny.\u201d<\/a> Reversing the figure of the male speaker complaining of a female object, Rosselli reconsiders these relations throughout Sleep<\/em>, reinterpreting this Elizabethan inheritance (itself drawing from the Italians) through a female speaker\u2019s perspective. Though she claimed throughout her life to be uninterested in being known as a \u201cfemale poet,\u201d Sleep<\/em> is one of Rosselli\u2019s works that plumb problems of gender most overtly.<\/p>\n

In his introduction, Schwabsky suggests that the title of the collection evokes Hamlet\u2019s famous soliloquizing: \u201cTo die, to sleep\u2014 \/ No more\u2014and by a sleep to say we end \/ The heartache, and the thousand natural shocks.\u201d Yet the collection might also call to mind Macbeth\u2019s refrain of \u201csleep no more\u201d:<\/p>\n

Methought I heard a voice cry \u201cSleep no more!
\nMacbeth does murder sleep,\u201d the innocent sleep,
\nSleep that knits up the ravell\u2019d sleeve of care,
\nThe death of each day\u2019s life, sore labour\u2019s bath,
\nBalm of hurt minds, great nature\u2019s second course,
\nChief nourisher in life\u2019s feast\u2014<\/p>\n

Some contextualization is important here: Macbeth\u2019s poeticizing is cut short with his wife\u2019s interjection: \u201cWhat do you mean?\u201d This description of sleep is interrupted through miscomprehension. This experience of obstructed understanding is thematized, reproduced, throughout Rosselli\u2019s poems. Sleep<\/em> itself begins with a sort of \u201cawakening,\u201d a murder: \u201cWhat woke those tender heavy fat hands \/ said the executioner as the hatchet fell \/ down upon their bodily stripped souls \/ fermenting in the dust.\u201d The poems that follow feel interconnected, but nonsequential. Shakespeare is interspersed throughout, whether through vague plots or stock figures (despondent queens, court fictions) or direct allusion (\u201cOtello has taken \/ the wheel in hand, his \/ broken fingers icily clasp \/ the silver pumice\u201d). But I return here to the connection with Othello<\/em>, which I find most compelling: think of Desdemona and her famous bedtime words, before Othello comes in and smothers her for her (false) betrayal. Again, the associations of death and slumber come rushing forth.<\/p>\n

In 1927, just before Rosselli\u2019s birth, the Italian journalist Santi Paladino published an article in the fascist journal L\u2019Impero<\/em>, claiming that Shakespeare had, in fact, been an Italian man named Michelangelo Florio. In 1929, around the same time that Mussolini\u2019s government began censoring the use of \u201cforeign words\u201d (\u201cparole straniere\u201d), Paladino published the book Shakespeare sarebbe lo pseudonimo di un poeta italiano<\/em> (\u201cShakespeare would be the pseudonym of an Italian poet\u201d). I\u2019m not suggesting that Rosselli had in mind Paladino\u2019s version of the Shakespeare question, or was even aware of it. But what Rosselli does with her language games is nonetheless a troubling of purist linguistic patrimonies.<\/p>\n

As Scappettone notes,<\/a> \u201cIt is a political act to damage the national language.\u201d In Sleep<\/em>, Rosselli\u2019s strange English, which draws upon Shakespearean motifs and her career-spanning research into not just different national languages but also the dialects of the working class, and, later in her Documento<\/em> (1976), the illiterate, reveals the Anglo-English canon as heterogeneous, as made up of geographic and linguistic crossings and histories of colonialism and imperialism. If Paladino wanted to \u201creveal\u201d the \u201creal\u201d Shakespeare as an Italian through the fascist strategies of factual distortion and fantasies of origins, Rosselli\u2019s Shakespearean experiments reveal patrimonial fictions as always having been migrant and cross-fertilizing.<\/p>\n

Rosselli\u2019s poems find affinities with other, wide-ranging attempts at troubling our understanding of linguistic rules. Jonathan Stalling\u2019s Y\u00edng\u0113l\u00ecsh\u012b<\/em> (2011) is a similar experiment in global poetics intended \u201cto oppose popular ideas of \u2018Chinglish,\u2019\u201d or Chinese-inflected English, as \u201c\u2018bad\u2019 English.\u201d In the process, he interrogates the often racist and white-supremacist undertones of assuming a \u201ccorrect\u201d English, something that James Baldwin also meditated upon in his 1979 essay \u201cIf Black English Isn\u2019t a Language, Then Tell Me, What Is?\u201d<\/a> Though their language games are quite different, Rosselli\u2019s Sleep<\/em> might be placed alongside other projects of dismantling linguistic rules, suggesting that our nativist expectations might need rethinking.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Whose (Who\u2019s) Shakespeare? On Amelia Rosselli\u2019s \u201cSleep\u201d \u201cYou are a stranger here,\u201d declares the opening poem of Amelia Rosselli\u2019s slim volume Sleep (2023), \u201cand have no place among us.\u201d This…<\/p>\n","protected":false},"author":2,"featured_media":5952,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-5951","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-books"],"yoast_head":"\nOn Amelia Rosselli\u2019s \u201cSleep\u201d - Printed_Matter<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On Amelia Rosselli\u2019s \u201cSleep\u201d - Printed_Matter\" \/>\n<meta property=\"og:description\" content=\"Whose (Who\u2019s) Shakespeare? On Amelia Rosselli\u2019s \u201cSleep\u201d \u201cYou are a stranger here,\u201d declares the opening poem of Amelia Rosselli\u2019s slim volume Sleep (2023), \u201cand have no place among us.\u201d This...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/\" \/>\n<meta property=\"og:site_name\" content=\"Printed_Matter\" \/>\n<meta property=\"article:published_time\" content=\"2024-02-29T22:35:20+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-04-08T03:08:33+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1096\" \/>\n\t<meta property=\"og:image:height\" content=\"575\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"adkim\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"adkim\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/\"},\"author\":{\"name\":\"adkim\",\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/#\/schema\/person\/7db57d2ae8d63dbc6c645dc92917ebe2\"},\"headline\":\"On Amelia Rosselli\u2019s \u201cSleep\u201d\",\"datePublished\":\"2024-02-29T22:35:20+00:00\",\"dateModified\":\"2024-04-08T03:08:33+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/\"},\"wordCount\":2178,\"image\":{\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg\",\"articleSection\":[\"Books\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/\",\"url\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/\",\"name\":\"On Amelia Rosselli\u2019s \u201cSleep\u201d - Printed_Matter\",\"isPartOf\":{\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg\",\"datePublished\":\"2024-02-29T22:35:20+00:00\",\"dateModified\":\"2024-04-08T03:08:33+00:00\",\"author\":{\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/#\/schema\/person\/7db57d2ae8d63dbc6c645dc92917ebe2\"},\"breadcrumb\":{\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#primaryimage\",\"url\":\"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg\",\"contentUrl\":\"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg\",\"width\":1096,\"height\":575},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/primolevicenter.org\/printed-matter\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"On Amelia Rosselli\u2019s \u201cSleep\u201d\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/#website\",\"url\":\"https:\/\/primolevicenter.org\/printed-matter\/\",\"name\":\"Printed_Matter\",\"description\":\"Centro Primo Levi Online Monthly\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/primolevicenter.org\/printed-matter\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/primolevicenter.org\/printed-matter\/#\/schema\/person\/7db57d2ae8d63dbc6c645dc92917ebe2\",\"name\":\"adkim\",\"url\":\"https:\/\/primolevicenter.org\/printed-matter\/author\/almond\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"On Amelia Rosselli\u2019s \u201cSleep\u201d - Printed_Matter","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/","og_locale":"en_US","og_type":"article","og_title":"On Amelia Rosselli\u2019s \u201cSleep\u201d - Printed_Matter","og_description":"Whose (Who\u2019s) Shakespeare? On Amelia Rosselli\u2019s \u201cSleep\u201d \u201cYou are a stranger here,\u201d declares the opening poem of Amelia Rosselli\u2019s slim volume Sleep (2023), \u201cand have no place among us.\u201d This...","og_url":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/","og_site_name":"Printed_Matter","article_published_time":"2024-02-29T22:35:20+00:00","article_modified_time":"2024-04-08T03:08:33+00:00","og_image":[{"width":1096,"height":575,"url":"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg","type":"image\/jpeg"}],"author":"adkim","twitter_card":"summary_large_image","twitter_misc":{"Written by":"adkim","Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#article","isPartOf":{"@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/"},"author":{"name":"adkim","@id":"https:\/\/primolevicenter.org\/printed-matter\/#\/schema\/person\/7db57d2ae8d63dbc6c645dc92917ebe2"},"headline":"On Amelia Rosselli\u2019s \u201cSleep\u201d","datePublished":"2024-02-29T22:35:20+00:00","dateModified":"2024-04-08T03:08:33+00:00","mainEntityOfPage":{"@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/"},"wordCount":2178,"image":{"@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#primaryimage"},"thumbnailUrl":"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg","articleSection":["Books"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/","url":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/","name":"On Amelia Rosselli\u2019s \u201cSleep\u201d - Printed_Matter","isPartOf":{"@id":"https:\/\/primolevicenter.org\/printed-matter\/#website"},"primaryImageOfPage":{"@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#primaryimage"},"image":{"@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#primaryimage"},"thumbnailUrl":"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg","datePublished":"2024-02-29T22:35:20+00:00","dateModified":"2024-04-08T03:08:33+00:00","author":{"@id":"https:\/\/primolevicenter.org\/printed-matter\/#\/schema\/person\/7db57d2ae8d63dbc6c645dc92917ebe2"},"breadcrumb":{"@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#primaryimage","url":"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg","contentUrl":"https:\/\/primolevicenter.org\/printed-matter\/wp-content\/uploads\/2024\/02\/Amelia-Rosselli.jpg","width":1096,"height":575},{"@type":"BreadcrumbList","@id":"https:\/\/primolevicenter.org\/printed-matter\/on-amelia-rossellis-sleep\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/primolevicenter.org\/printed-matter\/"},{"@type":"ListItem","position":2,"name":"On Amelia Rosselli\u2019s \u201cSleep\u201d"}]},{"@type":"WebSite","@id":"https:\/\/primolevicenter.org\/printed-matter\/#website","url":"https:\/\/primolevicenter.org\/printed-matter\/","name":"Printed_Matter","description":"Centro Primo Levi Online Monthly","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/primolevicenter.org\/printed-matter\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/primolevicenter.org\/printed-matter\/#\/schema\/person\/7db57d2ae8d63dbc6c645dc92917ebe2","name":"adkim","url":"https:\/\/primolevicenter.org\/printed-matter\/author\/almond\/"}]}},"_links":{"self":[{"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/posts\/5951","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/comments?post=5951"}],"version-history":[{"count":6,"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/posts\/5951\/revisions"}],"predecessor-version":[{"id":6067,"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/posts\/5951\/revisions\/6067"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/media\/5952"}],"wp:attachment":[{"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/media?parent=5951"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/categories?post=5951"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/primolevicenter.org\/printed-matter\/wp-json\/wp\/v2\/tags?post=5951"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}