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Damned China
While visiting his son, who has gone abroad to work, Paolo Rumiz treats us to vivid glimpses of a little-known China: the guards motionless at the entryways of condominiums, hivelike skyscrapers in which thousands of men labor like insects, galloping rickshaws, hardy and attractive masseuses whose methods border on brute force (far from the eroticism typically misassociated with their craft), and basketball courts installed with brazen irreverence in the famous Forbidden City. And then there’s the ever-flowing human stream, “...the movement of one billion and three hundred thousand people, the circulatory system of an immense and complex organism,” which Rumiz contemplates examining as if “by x-raying its main arteries down to the tiniest capillaries.” Everything, even the widespread and much discussed Chinese custom of spitting, is seen here anew, thanks to the observant eye of a master storyteller reporting from the tainted heart of China. Number of characters: 55.540
The Fault Line
An award-winning writer travels the eastern front of Europe, where the push/pull between old empires and new possibilities has never been more evident. Paolo Rumiz traces the path that has twice cut Europe in two—first by the Iron Curtain and then by the artificial scaffolding of the EU—moving through vibrant cities and abandoned villages, some places still gloomy under the ghost of these imposing borders, some that have sought to erase all memory of it and jump with both feet into the West (if only the West would have them). In The Fault Line, he is a sublime and lively guide through these unfamiliar landscapes, piecing together an atlas that has been erased by modern states, delighting...
They will come by night
Trains, refugees, military convoys in the dark. During a long sleepless night next to the woodburning stove, on Italy’s Eastern frontier, Paolo Rumiz senses the ill omens of a Europe besieged by wars and governed by the powers of a savage economy. He receives alarming signals from France, Germany, Spain, Greece, and the Baltic countries and wonders how to fend them off. Orwell has come to Brussels, the principles of the European Constitution are in ruins, barrier borders are coming back. All around, war against the human lives that are migrating, war of all against all, a heavy atmosphere of inhumanity and indifference. The man in the dark feels that barbarians could arrive at any time, an...
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Gulaschkanone
“Ormai l’avrete intuito, ne sono certo. Questo non è uno spettacolo. Se lo fosse avremmo spento le luci in platea. Avrete anche capito che questa non è una commemorazione; non so voi, ma io personalmente ho le scatole piene di commemorazioni a orologeria, di anniversari dovuti che svuotano di senso la memoria. A maggior ragione non mi si parli di celebrazione. Mia nonna diceva che non si può celebrare un massacro. Ma soprattutto questa nostra cosa non è il riassunto di un libro, anche se è nata da un libro. Ma allora cos’è?” Tre personaggi si muovono su un palcoscenico. Insieme a loro le ombre dei ragazzi che un secolo fa partirono per essere inghiottiti dalla morte anonima e di massa della Grande Guerra. Una morte che risuona nel cigolìo del gulaschkanone, la cucina da campo austroungarica su ruote che inghiottiva carne animale per sputare spezzatino. Gli studi e le interviste per scrivere Come cavalli che dormono in piedi, hanno ispirato Paolo Rumiz a realizzare anche questo dolente e immaginifico testo, la cui messa in scena è a cura del Teatro stabile del Friuli-Venezia Giulia (Trieste 2016). Numero di caratteri: 100.000
Die Seele des Flusses
Der Po, eine unbekannte Welt, ein grandioses Abenteuer: Kulturgeschichte von Italiens größtem Fluss. Italiens König der Flüsse ist einer der letzten blinden Flecken auf der Landkarte. Paolo Rumiz hat ihn zu Wasser erkundet: mit Kanu, Barke, Segelboot, von den Gebirgen des Piemont bis zur Mündung ins Adriatische Meer. Den selbsternannten Argonauten rund um Rumiz erschließt sich eine Welt ungeahnter Freiheiten. Wo oben, hinter dem Damm, der Verkehr tost, regiert auf dem Wasser die Stille, nur die Stimme des Flusses spricht. Die Reisenden lagern an verlassenen Ufern, nachts kreuzen Schmuggler und Piraten ihren Weg, Fischer erzählen von ihren Fängen und die Speisepläne spiegeln die Vielfalt von Natur und Mensch wider.
Appia
« De notre aventure, je ne sais pas ce qui est resté le plus clairement imprimé dans mon esprit : les visages ou les paysages, les pierres que nous avons vues ou les atmosphères que nous avons flairées en chemin. Ce qui est sûr, c’est que ce voyage a été le plus terre à terre et en même temps le plus visionnaire de tous ceux que j’ai faits. Tandis que le poids de mon sac à dos m’ancrait fermement au sol, ma tête vagabondait parmi les nuages, à la manière d’un cerf-volant, et en même temps la bonne chère méditerranéenne provoquait d’appétissants courts-circuits avec l’Histoire. » Dans cette bible voyageuse, Paolo Rumiz ressuscite la Via Appia, vingt-trois sièc...
Narratives of Mediterranean Spaces
Narratives of Mediterranean Space: Literature and Art across Land and Sea presents a comparative analysis of contemporary literary and visual narratives of movement and migration produced in Italian, Arabic and French. It analyzes how these works create a dialogue across the Mediterranean Sea. By paying attention to the multiple ways in which the Mediterranean is being narrated by contemporary writers and artists, Silvia Caserta aims to propose a reconceptualization of the Mediterranean as a polyphonic space of movement and resistance. The Mediterranean space that emerges from this study is a space that, by virtue of the instability and porosity of its geographical and cultural borders, is able to overcome normative dichotomies between north and south, east and west, local and global. This book proposes the Mediterranean is a fruitful area from which to investigate the wider contradictions of the contemporary global world while avoiding the traps of “Mediterraneanism”. For this reason, the book highlights the contradictions and dissonances that emerge from reading Mediterranean works, opening up multiple perspectives on the Sea and on the different lands that surround it.
Le Fil sans fin
« Nous autres, enfants de l’Europe des riches, qui a produit Auschwitz, nous qui passons pour des êtres civilisés, vivant dans une paix apparente depuis plus de soixante-dix ans, nous pensions être sortis de tout cela. Et aujourd’hui que le monde en est réduit au sauve-qui-peut, aujourd’hui que la grande fuite a commencé, nous sommes encore tout imprégnés du sentiment déraisonnable d’être étrangers aux désastres qui nous environnent. » Face à tant de violence destructrice, d’où pourrait bien venir un élan de reconstruction de l’Europe ? Qu’y a-t-il encore d’authentique dans un Occident submergé par le matérialisme ? Pourrons-nous nous rétablir sans avoir be...
