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This book examines how Lampedusa, Italy’s southernmost island, has become a transnational symbol representing migration to Europe from the Global South. It analyses how three very different associations have used the name “Lampedusa” as a means of restoring a sense of subjectivity or agency to migrants themselves. Jacopo Colombini argues that the work of the Archivio delle Memorie Migranti (Rome), the self-organised refugee group Lampedusa in Hamburg, and the Lampedusa-based Collettivo Askavusa offers an alternative to the stereotypical, often racially connoted, public discussion of migrant presence in Italy and Europe. He also demonstrates, however, that the marginalisation of migrant and refugee voices in the public discourse is also partially and unavoidably reproduced in the cultural projects that wish to restore their agency.
My grandmother Santa would whisper to me “Sciatu mio, you are the reason why I breathe.Based on the life of Frank J. Pennisi's own father, Giuseppe, Sciatu Mio is the sequel to his debut, The Prince of Sackett Street, Sciatu Mio is a rich and multi-layered romantic novel spanning three generations of the Parisi family, from 1850-1985, featuring Michael from Red Hook, Brooklyn, his father Giuseppe, and his great grandfather, Barone Salvatore from Sicily.Historical events are interwoven with stories of the horrific treatment of the Carusi children for control of the sulfur mines in Floristella and the brutal Mafia wars for control of the New York docks. Gripping, tense, and at times ironic and humorous, this page turner will keep readers riveted as they wonder if Salvatore, Giuseppe, and Michael find their sciatu mio despite the tangled webs of deceit and treachery. Sciatu mio means “my breath” and is the ultimate expression of love. Not everyone in life is lucky to find their one true love but if they do they have found their sciatu mio.Growing up, my father would tell me stories about how our family in Sicily came from nobility, and that they lived in castles. That was hard to imagine since my father and I lived in a three-room cold water flat with a bathroom in the hallway. When I was 17 my father died and I was on my own. Thirty years later my wife, Carolyn and I found ourselves in beautiful Taormina, Sicily and decided to look into the family roots. I wasn't sure this was such a good idea recalling the characters out of Red Hook.We drove to Piazza Pennisi south of town. The piazza was surrounded by stately palm trees and a magnificent 200 year old Arab Norman castle in the midst of an enchanting tropical giardini. As we drove up to the gates I couldn't help but think of my father and the stories he once told - maybe they weren't all myths.The name printed under the bell was Orazio Pennisi. A fragile voice came over the speaker, "Che sai?" I answered "Sono Francesco Pennisi di Stati Uniti volglio trovare me famiglia." And so began the incredible story of how I found my family.They introduced themselves as Orazio and Lina Pennisi di Floristella. They were very cordial and asked us to stay for dinner, which we did. We exchanged addresses and telephone numbers, but we never established bloodline.It was Christmas morning in Myrtle Beach and the memories of Sicily were 2 months behind us when the phone rang. It was Orazio and Lina wishing us Buon Natale. He asked us to come back to Sicily and stay with them because the family wanted to get to know us.We arrived in Catania in April and Etna was covered with snow. Orazio assigned us our room and said "you can come and go as you wish, here are the keys." When we were alone, I turned to Carolyn and said "can you imagine, from a kid in Red Hook living in a ghetto and now I have the keys to the castle?"We had a fabulous time meeting family members, eating at family functions and just learning about this wonderful noble family. My heart belonged to Orazio and at 85 he was the oldest of the family and out of respect everyone called him the Barone. He and Lina never had children and it seemed they had adopted us.The day we had to leave was a sad day for me. We felt like family even thoguh we never established bloodline. I kissed Orazio as we got ready to leave and said "I'm so proud of this family, the history and accomplishment." Orazio looked at me and said, "you are proud of us? You started with nothing and on your own you have become a Signore and we are proud of you."As I tried to hold back tears I attempted to give back the keys, but he pushed my hands aside and said, "these keys are yours for when you come back again."I could no longer hold back the tears. I did not have to search for my family in Sicily, I found Orazio. When we say goodbye, I tell him "ti abbraccio" and we tell him "ti amo" and he tells us "I love you very much."
Mary Cappello, Louise DeSalvo, Sandra M. Gilbert, Maria Mazziotti Gillan, Carole Maso, Agnes Rossi. These are some of the best-known Italian American writers today. They are part of a literary tradition with mid-twentieth century roots that began to develop, in earnest, in the late 1970s and early 1980s. During those decades, a number of Italian American women, such as Helen Barolini, began to publish books that depicted their perspectives on life through the critical lenses of gender, class, and ethnicity. At the end of the twentieth century, this literature finally blossomed into a fully fledged cultural movement that also took into account issues of sexuality, age, illness, and familial and societal abuse. "Writing with an Accent" takes a look at this vibrant literary movement by discussing those first writers of the 1970s and 1980s as well as later authors. At the center of Edvige Giunta's "Writing with an Accent" is the literal notion of accent, the marker of linguistic and cultural difference that separates and identifies recent immigrants to the United States. In this study, an accent symbolically embodies the differences and creative strategies through which contemporary Italian American women writers engage Italian American culture in works of fiction, poetry, and memoir. Giunta also looks at the links between the literature and art, music, film, and video produced by contemporary Italian American women. The literature of the Italian American women in "Writing with an Accent" is shaped by the complicated connections these authors maintain with their cultural origins, but also, and perhaps more importantly, by their feminist consciousness and politicized sense of ethnicidentity. "Writing with an Accent" celebrates and explores a group of authors who characteristically mix the joy and pain of Italian American life to paint a multifaceted picture of Italian American women and their complex place in U.S. culture.
Forum Italicum is a journal of Italian Studies, founded by M. Ricciardelli in 1967. The journal is intended as a meeting-place where scholars, critics, and teachers can present their views on the literature, language, and culture of Italy and other countries in relation to Italy. Young and hitherto unpublished scholars are encouraged to contribute their critical works.
Set in Chicago during the 1940s and 1950s, Paper Fish is populated by hardworking Italian-American immigrants whose heroism lies in their quiet, sometimes tragic humanity. At the center of the novel is young Carmolina, who is torn between the bonds of the past and the pull of the future --a need for home and a yearning for independence. Carmolina's own story is interwoven with the stories of her family: the memories and legends of her Grandmother Doria; the courtship tales of her father, a gentle policeman and her mother, a lonely waitress; and the painful story of Doriana, her beautiful but silent sister.
Eerily she splits herself in two so that she is both the one who watches and the one who is watched, creator and creation, author and character, as she observes herself from afar "And I would like to help her," the one who watches says, "but I can't.".
Questa raccolta di poesie e di racconti popolari anonimi in dialetto molisano tracciano il percorso di due storie che, pur diversificate, si compenetrano e si completano a vicenda: la storia individuale dell' autore e la storia collettiva della società di un paese del Sud. Le immagini di un mondo apparentemente immobile e arcaico si alternano alle vicende di una realtà storica complessa e tormentata, nel cui magma vecchio e nuovo si scontrano e si fondono. This collection of poems and anonymous folktales in the Molisan dialect traces the unfolding of two stories which, although distinct, interweave and complete each other: the author's individual story and the story of a town in the South of Italy. The images of an apparently immobile and archaic world alternate with the events of a complex and tormented historical reality, in whose magma the new and the old clash and fuse.
Umbertina is leaving her small Calabrian village in Italy for a new life in the United States. As the years go by and Umbertina lives an Americanized life, her granddaughter, Marguerite, and her great-granddaughter, Tina, find themselves searching for deeper meaning in their lives. Their quest takes them back to Italy for a chance to explore their heritage.
"In this mesmerizing novel, two women share a weekend in a cell in the county jail, and there, they tell each other the stories of their lives - the split between who they are now and who they used to be." "Rita is twenty-seven, fast-living, and reckless. Her unlikely cellmate, Mrs. Tyler, is in her fifties, rich, reserved, and socially prominent. These two women appear to have nothing in common but three days in which to rethink their lives - to talk and pass the time, to forget about where they are by focusing on where they have been, by asking themselves and each other how in the world they've wound up embarrassing their families and themselves." "Rita left home right after high school, spent her days working, her nights in bars. When the appeal of casual sex and the occasional hit of cocaine began to wear thin, she met Alex, fell in love, and married. She had what she thought she wanted: a husband, a home, a chance to finish college and get a real job. But something still wasn't right. Rage that Rita didn't understand woke her up in the middle of the night and fueled her sense that her life was about to spin out of control. Then her boss's memo forbidding split skirts triggered a reaction that began with a night on the town with the women from her officeand ended with Rita's arrest for possession of cocaine and drunk driving." "Mrs. Tyler lives in a big house in an exclusive suburb, wears expensive clothes - and cannot stop shoplifting from department stores. Born into a large working-class family, Mrs. Tyler married well and skyrocketed up the social ladder; she certainly has no need to steal the blouses she tucks into her purse, the lipsticks she hides up her sleeve. What began as a prank has become a compulsion, and Mrs. Tyler comes to jail determined to understand why she has sabotaged herself and her family." "Profound truths about women's lives emerge as these two cellmates exchange stories. Rita and Mrs. Tyler reflect on being wives and workers, lovers and daughters, teenagers, little girls, mothers. They dare to be honest with each other and, as a result, come to better understand themselves, each other, and the world. Agnes Rossi's humor, intelligence, and sharp eye for human truths illuminate with power and grace the particular and the universal forces that shape a person's destiny."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved