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Used Quantity Available: 1. They are not concrete in any way. I was fed up with books, which I still continued to gulp down with indiscreet voracity…. In school they loaded me with tons of notions which I diligently digested, but which did not warm the blood in my veins…. It was enervating, nauseating, to listen to lectures on the problem of being and knowing, when everything around us was a mystery pressing to be revealed. Here there is the same position, the same cultural undergrowth. Was Levi an anomaly? He certainly was. The people who understood that Levi was a writer were mostly the intellectuals that were committed to building a new Italy, politicians and jurists like Piero Calamandrei, Carlo and Alessandro Galante Garrone, and Aldo Garosci.

LA LEPRE E IL PORCOSPINO - Storie Per Bambini - Fiabe Italiane

Or, they were writers, a few of them. Like Saba and Calvino. Here, Calvino is one the few writers who understood that If This is a Man was a great book. And to write in that If This is a Man was a great book was something that then was not being taken for granted. Remember that the title this chapter back in was to be the title of his last non-fiction book, the last book of Primo Levi. Eccezionale, gigantesca esperienza. Esperienza is a word from French that Levi uses and stands for experiment.

It means something that you can touch, something that has three dimensions. It is something that is not fluid and is not philosophy, a thing you live through! Remember what Massimo told you about Basaglia a little while ago, about that extraordinary letter of from Gorizia. There are words, these words written by Levi, that could fit exactly in that letter. So, the multiplication of numbers, the increasing of the quantity — what can these tell us about the quality of the experience? What can they tell us about the quality of life? What can they lead us to conclude about the results of an unlivable experiment like the Auschwitz experiment?

Massimo Bucciantini: They can lead us to conclude, for example, that there is a deep passageway from If This is a Man to The Drowned and the Saved , but that there is also a discontinuity. At the beginning I told you that we should not embalm Levi. In order not to embalm him, we also need to see that there are features of discontinuity in his works.

This is a point that Alberto Cavaglion pointed out very well in his writings on Levi. I would first like to say that this is a task that still has to be done for the most part, even though there are already some traces that need to be followed and emphasized. We can find one of these traces in the autobiography of Bianca Guidetti Serra, which was published several years ago by Einaudi. If we read Bianca la rossa [Bianca the red], we run into a chapter dedicated to her friend Primo and can find a precious clue there. March 19, So, The Drowned and the Saved came out in In , on March 19, Primo sent Bianca the typescript of what he then thought should be the first chapter of a new book.

How many years had Levi been reflecting on what is one of the bedrocks of his moral philosophy and a key point for getting to know the human species? It would be important to find out if the version sent to Bianca Guidetti Serra was the definitive one. Likewise, it would be important to manage to understand, through private documentation, when the concept of the gray zone originated.

Was it from the early s, or even before? All in all, Levi is saving a lot of surprises for us. I think the best thing to do is to make an analytic reading, page by page, word by word. To this end, I am convinced that one of the basic instruments that the Centro Studi Primo Levi could put in the works is the creation of a Levian lexicon — a lexicon of all the writing of Levi. I do not know if I answered your question, but I was wanting to say these things.

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Domenico Scarpa: Look, you did good to say them. In fact, this is something that we are trying to do as the Centro Primo Levi. We would like to make a lexicon of Levi, to make a so-called, in technical terms, concordance. What words does Levi use? How many words? Where can we find each of them? In what contexts? Where do we find the adverb quasi [approximately]?

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Where do we find the word fortuna [fortune]? We would do the same thing with the noun fortuna as well as with all of the noteworthy and less noteworthy words that Levi used in his three thousand pages of his complete works. We will do this job. We will do it. You can rest assured! Another thing we are trying to do is to draft a chronology of the gray zone.

This is fundamental. It is fundamental for understanding certain concepts that are entirely new and have had and keep on having a very broad following all over the world, also a philosophical and theoretical following. When did his ideas originate? When did they develop? How did they take shape? How did they change? Effectively, we have to look for the key to this at the beginning of the s. The first half of the s was a decisive time when Primo Levi was working out the concept gray zone. However, at this point, I would like to make a direct reflection on the title of this book.

You have seen with what passion, and, along with that, with what calm, Massimo Bucciantini has been expressing himself. Nothing strikes us any more.