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If what Ginzburg offers in her essays is the examined life, then the acuity of her writing is in the process of examination. It has been a privilege to witness and partake of that process. When I first came to the village, all the faces seemed the same to me; the women, rich and poor, young and old, all looked alike. Nearly all had missing teeth: the women down there lose their teeth at thirty, from hard work and poor nutrition as well as from the strains of childbirth and nursing babies that come one after the other relentlessly. But soon, little by little, I could single out Vincenzina da Secondina, Annunziata da Addolorata, and I started visiting all the houses and warming myself at their various fires.
Ginzburg’s sentences are compact and satisfying in their directness, yet they are also redolent with emotional fat (just the thing to ingest when experiencing a winter of your own). Behind the exactness of her almost journalistic observations, the strange and resonant details she includes are surreal, dreamlike.The end of winter awakened a vague restlessness in us. Maybe someone would come to visit, maybe something would finally happen. Surely our exile, too, must have an end. The roads cutting us off from the world seemed shorter, the mail came more often. All our chilblains slowly healed.
My husband died in Regina Coeli prison in Rome a few months after we left the village. When I confront the horror of his solitary death, of the anguished choices that preceded his death, I have to wonder if this really happened to us, we who bought oranges at Girò’s and went walking in the snow. I had faith then in a simple, happy future, rich with fulfilled desires, with shared experiences and ventures. But that was the best time of my life, and only now, now that it’s gone forever, do I know it.
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Forging the Female Voice Out of the Ruins of History: Reading Natalia Ginzburg” by Katrin Wehling-Giorgi In 1964 she played the role of Mary of Bethany in Pier Paolo Pasolini's The Gospel According to St. Matthew. Or, as Natalia Ginzburg puts it in her essay “Silence,” and as the global Covid-19 pandemic has shown, “Today, as never before, the fates of men are so intimately linked to one another that a disaster for one is a disaster for everybody.” Reading Natalia Ginzburg” introduces the general reader to Ginzburg’s life and writing; it explores the texts, voices, bodies, and spaces that define her style and subject matter; and highlights the work of her translators. It constructs an accessible scaffolding with multiple points of view and multiple points of entry. On Humor, Eccentricity, and Sound in Family Lexicon: A Conversation with Ginzburg Translator Jenny McPhee” by Eric Gudas and Jenny McPhee
Natalia Ginzburg or the Possibilities of the Bourgeois Novel” by Italo Calvino, translated from Italian by Stiliana Milkova and Eric Gudas Natalia Ginzburg (1916-1991) was an Italian writer, translator, playwright, and essayist. She worked as an editor at Italy’s premier publishing house Einaudi, alongside authors such as Cesare Pavese and Italo Calvino. She was at the center of Italy’s flourishing post-war cultural industry, and in 1963 her novel Family Lexicon won the most prestigious Italian prize for literature, the Premio Strega. Her works include novels, collections of short stories and essays, plays, and literary criticism. She translated Flaubert and Proust.
Other books by Natalia Ginzburg
After her marriage, she used the name "Natalia Ginzburg" (occasionally spelled " Ginzberg") on most subsequent publications. Her first novel was published under the pseudonym "Alessandra Tornimparte" in 1942, during Fascist Italy's most anti-Semitic period, when Jews were banned from publishing. NYRB: Jhumpa Lahiri & Cynthia Zarin discuss Natalia Ginzburg's Valentino & Sagittarius". Community Bookstore. 2020-08-13 . Retrieved 2020-10-29.
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