Corrado Alvaro


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Alvaro, Corrado

 

Born Apr. 15, 1895, in San Luca; died June 11, 1956, in Rome. Italian writer.

A participant in World War I, Alvaro published his first book, Poetry in Khaki, a collection of verse, in 1917. His best work is the novella People From Aspromonte (1930), a realistic depiction of peasant life in Calabria during the Italian Fascist regime. The novel Brief Youth (1946) is marked by refined psychology, and the book Almost All My Life (1954) is the writer’s diary from the years 1927–47.

WORKS

Settantaeinque racconti. Milan, 1955.
In Russian translation:
Revnost’ i drugie rasskazy. Moscow, 1960.

REFERENCES

Potapova, Z. M. “Realisticheskie traditsii v ital’ianskoi literature 30–kh gg.” In Zarubezhnaia literatura 30–kh gg. XX v. Moscow, 1969.
Falqui, E. Prosatori e narratori del novecento italiano. Turin, 1950.
Salinari, C. Preludio e fine del realismo in Italia. [Naples,] 1967.

Z. M. POTAPOVA

References in periodicals archive ?
Il Mito, inteso come sostrato culturale sotteso al topos del Mediterraneo (e pertanto all'intero volume), trova tuttavia un'ulteriore elaborazione foriera di importanti sviluppi nell'intervento gia menzionato di Trinis Antonietta Messina Fajardo sul mito di Alceste e la sua ricezione nel teatro italiano contemporaneo; e poi la figura di Medea, vista da Giulia Tellini nelle eleborazioni di Corrado Alvaro, Pier Paolo Pasolini e Cari Theodor Dreyer a tenere viva la centralita della mitografia nel contesto della cultura mediterranea.
This investigation of the ways in which Italian poet soldiers represented mothers and motherhood seeks to shed light on the relationship between gender and war in earlytwentieth-century Italy by exploring the intersections and divergences between the official discourses on motherhood and the Madre-patria, represented here by D'Annuzio's "Il rinato," and the counter-discourses offered in the poetry of Ugo Betti and Corrado Alvaro. In order to illustrate a fundamental difference in the way D'Annunzio, on the one hand, and Betti and Alvaro, on the other, portray mothers, I will focus on their various depictions of maternal grief.
Here, however, I will concentrate on the representation of mothers in the work of several poet soldiers--Gabriele D'Annunzio's "Il rinato" (1916), and select poems from Ugo Betti's Il re pensieroso (1922) and Corrado Alvaro's Poesie grigioverdi (1917).
Corrado Alvaro (1895-1956), a draftee, was badly injured at Monte Sei Busi in 1915.
"Le Poesie grigioverdi e la letteratura della Grande guerra." Corrado Alvaro e la letteratura tra le due guerre.
(1) Marinella Lizza, "Il mito di Alcesti in Alberto Savinio e Corrado Alvaro," Italian Culture 22 (2004): 47-69 (55).
364), "Prokudenata" (The Banished One), "Otvud okeana" (Beyond the Ocean), "Novi stikhotvorenia" (New Poems), "Pisma do Korado Alvaro" (Letters to Corrado Alvaro; in Italian with en-face translations in Bulgarian), and "The Star Obscure" (twenty poems in English).
His study of the memoirs of writers such as Giorgio Soavi, Corrado Alvaro and Vittorio De Caprariis reveals the "existential rout" caused by the ventennio, arguing persuasively, and often harrowingly, that "life seems to have lost meaning in the minds of these young men, and the memory of their youth ideals lay deeply buried under the devastation caused by that terrifying experience" (73)--not, then, the "parenthesis" described by Croci, but a set of traumatic events which those who experienced them would continue to re-live.
Other beneficiaries of government support included Corrado Govoni (whose son was later killed by the Nazis at the Fosse Ardeatine), Corrado Alvaro, Gianna Manzini, and Paola Masino (who was forced however, to make humiliating changes in some of her writings), plus such later left-wing militants as Alfonso Gatto, Carlo Cassola, and Mario Alicata.
Poem 8:29 is especially fascinating in its use of what the poet calls "the end of the novel about my grandmother's brother, a volunteer called Annibale Noferi," in fact an actually existing novel called Vent'-Anni, by Corrado Alvaro. The quoted passage speculates on the requirements imposed on the postwar world by those returned from the front: "We will imagine the world bigger, more beautiful, more noble, more adventurous [than it is], and we'll seek it in all the most desperate enterprises and raging causes." The character's vision becomes a benchmark for those, journalists and poets alike, who seek to report Sarajevo "as it is" and to avoid the histrionics, "cheap shots" (pun intended), and delusions that come with the territory.