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Alba de Céspedes (1911–1997)

Auteur de Le Cahier interdit

17+ oeuvres 440 utilisateurs 16 critiques

A propos de l'auteur

Crédit image: Alba de Céspedes

Œuvres de Alba de Céspedes

Le Cahier interdit (1952) 249 exemplaires
Elles (1949) 55 exemplaires
Nessuno torna indietro (1938) 44 exemplaires
Le remords (1963) 31 exemplaires
La Bambolona (1969) 22 exemplaires
Avant et après (1955) 10 exemplaires
Sans autre lieu que la nuit (1973) 9 exemplaires
Journée d'août (1955) 6 exemplaires
Romanzi (2011) 4 exemplaires
L'anima degli altri (1935) 2 exemplaires
Fuga (1940) 2 exemplaires
Chansons des filles de mai (1968) 1 exemplaire
Confissão 1 exemplaire

Oeuvres associées

The Penguin Book of Italian Short Stories (2019) — Contributeur — 139 exemplaires

Étiqueté

Partage des connaissances

Nom canonique
Céspedes, Alba de
Nom légal
Céspedes y Bertini, Alba Carla Lauritai de
Date de naissance
1911-03-11
Date de décès
1997-11-14
Sexe
female
Nationalité
Italy
Lieu de naissance
Rome, Italy
Lieu du décès
Paris, France
Lieux de résidence
Paris, France
Études
privately educated
Professions
journalist
scriptwriter
poet
feminist
Resistance fighter
short story writer (tout afficher 7)
novelist
Relations
Céspedes del Castillo, Carlos Manuel de (grandparent)
de Céspedes y Quesada, Carlos Manuel (father)
Bertini Alessandrini, Laura (mother)
Organisations
Il Mercurio (founder)
Courte biographie
Alba de Céspedes was born in Rome, Italy, to an Italian mother and an aristocratic Cuban father She grew up in a wealthy and politically engaged family (her grandfather was the first president of Cuba), and became fluent in both Spanish and Italian, as well as several other European languages. She became a writer at a young age and published her first collection of short stories, L'anima degli altri (The Soul of Others) at 24, in 1935. She was jailed for anti-fascist activities in 1935 and 1943. Her first novel, Nessuno torna indietro (There's No Turning Back), which appeared in 1938, was banned by the Italian fascist regime but became a bestseller internationally. During World War II, de Céspedes worked with the Italian Resistance and made broadcasts with Radio Partigiana in Bari under the pseudonym Clorinda.
At the end of the war, she founded the literary magazine Mercurio, which published many authors who greatly influenced cultural developments in Italy and worldwide. After it closed, from 1952 to 1958, she wrote a regular column for the weekly magazine Epoca, as well as contributing to newspapers such as La Stampa. Her best known work today may be the feminist novel Quaderno proibito (Forbidden Notebook, also known as The Secret), published in 1952. In the late 1950s, she moved to Paris and wrote her last novels and poems in French. She worked in theater and films, and several of her books were made into movies and television dramas. De Céspedes was married twice: firstly in 1926, at age of 15, to count Giuseppe Antamoro, with whom she had a son; they divorced in 1931. In 1940 she married the Italian diplomat Franco Bounous and accompanied him to the USA and the USSR.

Membres

Discussions

Author name written as a book title à Bug Collectors (Juillet 2022)

Critiques

A novel of intense interiority that showcases change at the societal and personal level, Quaderno Proibito was published in Italy in the early 1950s (first serialized, then as a book), translated into English in 1957 as “The Secret”, and now given a new English translation in 2023 as “Forbidden Notebook”. Written in diary format, it deals with the struggles of a 43 year old woman to come to terms with her life choices and what she wants from her life in the current day. Its first English title emphasizes that she has been and is withholding information - such withholding is and has been from herself as well as from those close to her. Its new English title, more literally translated, points to the field of play where such information is brought forth and explored by its “author”, Valeria Cossati.

In the forward to this new translation Jhumpa Lahiri states that diaries and notebooks are “declarations of autonomy.” That Valeria would even keep a diary, thus claiming some autonomy for herself, is seen as absurd by her family when raised as a theoretical early in the novel. Her family consists of a husband and two children who are on the cusp of adulthood. None of them can conceive of Valeria as an individual actor; everything she is and does is rather embedded into the family. She hardly exists except in that context so what would she need with a place for her autonomous self to emerge.

Beginning a diary was a sudden decision by Valeria, seemingly a subconscious impulse that could not be denied. We can see it as her true inner self demanding to be acknowledged after long suppression. What allowed this breakthrough might be identified in a couple of factors external to Valeria that have pierced her routine. First the changing mores and expectations of women in post-war Italy, a nation shattered by fascism and war. Valeria herself has been forced into the labor pool by poverty, while still feeling the weight of expectation to be a selfless domestic worker at home by her family. Secondly and relatedly is the rebellion against the traditional gender roles assigned to women by her daughter Mirella, a physical and close to home embodiment of societal level changes that forces Valeria to confront the worldview she has previously taken for granted, and to examine her past choices and future options.

This is uncomfortable. Feeling unmoored from our beliefs, questioning what we have previously viewed as truth, is such an unpleasant experience that humans of all backgrounds and ideological systems have a strong tendency to avoid it! Valeria forges ahead however, despite being well aware that, as she writes, “I have to acknowledge it isn’t making [my life] any happier.”

In the notebook Valeria comes to admit to herself that in fact she is not happy and hasn’t been for a long time. Her unhappiness is caused by and embedded in a family structure that retains traditional expectations, and yet she finds herself fighting to defend these very expectations and structures against Mirella’s rejection of them. While this is going on Valeria begins a hesitant romance with her boss even as she continually says it is “not possible”, and futilely tries to resurrect some emotions in her love-dead marriage. All this cognitive dissonance does nothing to advance her happiness or peace of mind, though it does begin to present openings into a new way of being, and new possibilities that might lead to happiness.

Whether Valeria will be able to take advantage of them is still uncertain at the end of the novel. The family with its tyrannical demands asserts new claims over her and an entire lifetime’s way of being is still powerful. In the manner of a fallen soldier urging on a comrade, she tells Mirella, “Maybe I won’t tell you any more, but remember what I told you tonight: save yourself, you who can do it. Go, be quick.”

Not a quick read for me, I think I spent as much time thinking about Valeria outside the bounds of the text as the character would have spent thinking in real time, ha, but a remarkable peek into an historical moment and a human consciousness.
… (plus d'informations)
 
Signalé
lelandleslie | 4 autres critiques | Feb 24, 2024 |
Con una madre que se suicida por amor, Alessandra se niega a repetir ese destino pero será enviada por su padre a la casa de unos parientes en un remoto pueblo de Abruzzo con la esperanza de que haga suyo el “deber de sumisión”. Ella, en cambio, se vuelve cada vez más consciente de la cuestión femenina y está decidida a obtener para las mujeres el mismo respeto que reciben los hombres. El hecho crucial de su vida es enamorarse de Francesco, un carismático profesor antifascista con quien se casará; su amor está, sin embargo, destinado a un final trágico.
Con el dramático contexto de la guerra de fondo, Alba de Céspedes compone una novela asombrosa por la variedad de situaciones, la precisión de los retratos, la riqueza de tonos. Un sofisticado juego de espejos del que emerge la conciencia de una mujer que, en un mundo cada vez más dominado por los hombres, consigue transformar la resignación en rebeldía.
… (plus d'informations)
 
Signalé
bibliotecayamaguchi | 4 autres critiques | Jan 4, 2024 |
"Una esposa ejemplar’, la exhortación en defensa de la dignidad de la mujer de Alba de Céspedes", Javier Aparicio Maydeu, El País 26.12.2023: https://elpais.com/babelia/2023-12-26/una-esposa-ejemplar-la-exhortacion-en-defe...
 
Signalé
Albertos | 4 autres critiques | Dec 26, 2023 |

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Arthur C. Clarke Contributor
Eva Curie Contributor
Jhumpa Lahiri Foreword
Ann Goldstein Translator
Hanns Floerke Translator
William Weaver Translator
Louis Bonalumi Translator

Statistiques

Œuvres
17
Aussi par
1
Membres
440
Popularité
#55,641
Évaluation
½ 4.3
Critiques
16
ISBN
56
Langues
9

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