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Italo Calvino

Collection of Sand

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This “brilliant collection of essays” and travelogues by the celebrated author of Invisible Cities “may change the way you see the world around you” (The Guardian, UK).
Italo Calvino’s boundless curiosity and ingenious imagination are displayed in peak form in Collection of Sand, his last collection of new works published during his lifetime. Delving into the delights of the visual world—both in art and travel—the subjects of these 38 essays range from cuneiform and antique maps to Mexican temples and Japanese gardens. In Calvino’s words, this collection is “a diary of travels, of course, but also of feelings, states of mind, moods…The fascination of a collection lies just as much in what it reveals as in what it conceals of the secret urge that led to its creation” (from Collection of Sand).
Never before translated into English, Collection of Sand is an incisive and often surprising meditation on observation and knowledge, “beautifully translated by Martin McLaughlin” (The Guardian, UK).
Эта книга сейчас недоступна
252 бумажные страницы
Дата публикации оригинала
2014
Год выхода издания
2014
Издательства
Houghton Mifflin Harcourt, Mariner Books
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Цитаты

  • Дмитрий Веснинцитируетв прошлом году
    Perhaps only this echo of material interest can counterbalance the instinctive gesture of contemporary man: that of throwing things away.

    [1980]
  • Дмитрий Веснинцитируетв прошлом году
    ‘The discovery of popular culture,’ writes Peter Burke,

    took place in the main in what might be called the cultural periphery of Europe as a whole and of different countries within it. Italy, France and England had long had national literatures and a literary language. Their intellectuals were becoming cut off from folksongs and folktales in a way that Russians, say, or Swedes were not . . . It is not surprising to find that in Britain it was the Scots rather than the English who rediscovered popular culture, or that the folksong movement came late to France and was pioneered by a Breton, Villemarqué, whose collection, Barzaz Braiz, was published in 1839. Again, Villemarqué’s equivalent in Italy, Tommaseo, came from Dalmatia, and when Italian folklore was first studied seriously, in the later nineteenth century, the most important contributions were made in Sicily . . . In Germany too the initiative came from the periphery; Herder and Von Arnim were born east of the Elbe. (pp. 13–14)

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