Family Lexicon by Natalia Ginzburg
(New York Review Books Classics)

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It’s a poignant thought that grows ever more poignant as Ginzburg goes on to describe the limits to expression under fascist leadership. Ginzburg’s “lexicon” is a valuable addition to an already burnished body of work in translation.
-Kirkus

Synopsis

A masterpiece of European literature that blends family memoir and fiction

An Italian family, sizable, with its routines and rituals, crazes, pet phrases, and stories, doubtful, comical, indispensable, comes to life in the pages of Natalia Ginzburg’s Family Lexicon. Giuseppe Levi, the father, is a scientist, consumed by his work and a mania for hiking—when he isn’t provoked into angry remonstration by someone misspeaking or misbehaving or wearing the wrong thing. Giuseppe is Jewish, married to Lidia, a Catholic, though neither is religious; they live in the industrial city of Turin where, as the years pass, their children find ways of their own to medicine, marriage, literature, politics. It is all very ordinary, except that the background to the story is Mussolini’s Italy in its steady downward descent to race law and world war. The Levis are, among other things, unshakeable anti-fascists. That will complicate their lives.

Family Lexicon is about a family and language—and about storytelling not only as a form of survival but also as an instrument of deception and domination. The book takes the shape of a novel, yet everything is true. “Every time that I have found myself inventing something in accordance with my old habits as a novelist, I have felt impelled at once to destroy [it],” Ginzburg tells us at the start. “The places, events, and people are all real.”
 

About Natalia Ginzburg

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Natalia Ginzburg (1916-1991) is today recognized as one of the foremost woman writers to emerge from twentieth-century Italy.
 
Published April 25, 2017 by NYRB Classics. 224 pages
Genres: History, Political & Social Sciences, Literature & Fiction. Fiction
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Kirkus

Excellent
on Jan 23 2017

It’s a poignant thought that grows ever more poignant as Ginzburg goes on to describe the limits to expression under fascist leadership. Ginzburg’s “lexicon” is a valuable addition to an already burnished body of work in translation.

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