La Bella Figura
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- 3,99 €
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- 3,99 €
Description de l’éditeur
First of all, let's get one thing straight. Your Italy and out Italia are not the same thing. Italy is a soft drug peddled in predictable packages such as hills in the sunset, olive groves, white wine and raven haired girls. Italia, on the other hand, is a maze. It's alluring but complicated. In Italia you can go round and round in circles for years. Which of course, is great fun.' Beppe Severgnini was The Economist's Italian correspondent for ten years. A huge Anglophile as well as an astute observer of his countrymen, he's the perfect companion for this hilarious tour of modern Italy that takes you behind the seductive face it puts on for visitors -- la bella figura -- and uncovers the far more complex, paradoxical true self. Alongside the historic cities and glorious countryside, there'll be stops at the places where the Italians reveal themselves in all their authentic, maddening glory: the airport, the motorway and the living room. Ten days, thirty places. From north to south, from food to politics, from saintliness to sexuality.This witty and beguiling examination will help you understand why Italy, as Beppe says, 'can have you fuming and then purring in the space of a hundred metres or ten minutes.
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Severgnini Italian newspaper columnist and author of the pesce-out-of-water memoir Ciao, America! must have wanted to emulate Luigi Barzini, author of the 1960s classic The Italians, in this somewhat tepid sociological look at his countrymen. Severgnini writes pleasantly enough (and Giles Watson's translation is smooth, for the most part), but his observations are anything but sharp. He organizes this overview as a kind of geographical "tour," with a chapter about car sex in Naples and another on the Italian countryside in Tuscany. Sweeping statements, such as "Italians have the same relationship with food that some Amazonian people have with the clouds in the sky one glance and we know what to expect," abound, and they have the ring of truth, but they're rarely backed up by supporting anecdotes. In today's shrunken world, jokes about how Italians love to see half-naked women on television ("The new Italian icon is the Semi-Undressed Signorina") and abuse their cellphone privileges simply aren't new. The collection ends with the hoariest of devices: a letter from an imaginary American friend who has taken Severgnini's tour and reminisces about the beautiful "girls" in a Milan disco. Barzini, too, often wrote in generalities, but he had the advantage of coming first.
