The Italian Teacher
The Costa Award Shortlisted Novel
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- 3,99 €
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- 3,99 €
Descripción editorial
***SHORTLISTED FOR THE COSTA NOVEL AWARD***
'Wickedly funny, deeply touching . . . I confess this was the first of Rachman's novels I'd read but I was so swept away by it that I raced out to buy the other three' PATRICK GALE
'Relentlessly entertaining' Daily Mail
Rome, 1955
The artists are gathering together for a photograph. In one of Rome's historic villas, a party glitters with socialites and patrons. Bear Bavinsky, creator of vast, masculine, meaty canvases, is their god. He is at the centre of the picture. His wife, Natalie, edges out of the shot.
From the side of the room watches little Pinch - their son. At five years old he loves Bear almost as much as he fears him. After Bear abandons their family, Pinch will still worship him, while Natalie faces her own wars with the art world. Trying to live up to his father's name - one of the twentieth century's fiercest and most controversial painters - Pinch never quite succeeds. Yet by the end of a career of twists and compromises, he enacts an unexpected rebellion that will leave forever his mark upon the Bear Bavinsky legacy.
What makes an artist? In The Italian Teacher, Tom Rachman displays a nuanced understanding of art and its demons. Moreover, in Pinch he achieves a portrait of vulnerability and frustrated talent that - with his signature humour and humanity - challenges the very idea of greatness.
PUBLISHERS WEEKLY
In Rachman's artful third page-turner (after The Rise & Fall of Great Powers), the son of a world-renowned painter struggles to escape the dark shadow cast by his father. Born in Rome to a mistress turned bride, Pinch Bavinsky only sees his domineering father, Bear, during the elder's summer visits to Europe. After a trip by teenage Pinch to 1960s New York ends with Bear crushing his artistic ambitions, the son abandons his dreams of painting to embark on a failed career in academia before becoming a foreign language instructor in London. The most trusted of Bear's 17 children, Pinch appoints himself overseer of his aging father's work, and much of the novel's well-staged tension emerges from Pinch's choice in the early aughts to paint a reproduction of one of Bear's paintings and sell it, passing it off as one of his father's. Spanning the 1950s to the present, the novel does traffic a bit in familiar notions of the art world and difficult artists, but its subversion of these tropes makes for a satisfying examination of authorship and authenticity, and a fine fictionalization of how crafting an identity independent of one's parents can be a lifelong, worthwhile project.
