By Marlena de Blasi
He observed her around the Piazza San Marco and fell in love from afar. while he sees her back in a Venice café a 12 months later, he is familiar with it really is destiny. He is familiar with little English; and she or he, a divorced American chef, speaks in basic terms food-based Italian. Marlena thinks she is incapable of intimacy, that her middle has misplaced its capability for romantic love. yet inside months in their first assembly, she has packed up her residence in St. Louis to marry Fernando—“the stranger,” as she calls him—and stay in that achingly attractive urban during which they met.
Vibrant yet vaguely baffled by means of this daring circulate, Marlena is beaten by means of the sheer foreignness of her new domestic, its rituals and customs. yet there are scrumptious moments while Venice opens up its fingers to Marlena. She chefs an American ceremonial dinner of Mississippi caviar, cornbread, and fried onions for the locals . . . and takes the tango she discovered within the Poughkeepsie center university fitness center to a candlelit trattoría close to the Rialto Bridge. all of the whereas, she and Fernando, disparate souls, construct a unprecedented lifetime of ardour and possibility.
Featuring Marlena’s personal amazing recipes, A Thousand Days in Venice is the enthralling real tale of a lady who opens her heart—and falls in love with either a guy and a city.
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Extra resources for A Thousand Days in Venice
76 This reasoning leads De Martino to a revision that is not far from the center of international cultural studies: the renegotiation of apparently ontological categories, such as nature and culture. 1. The disappearance of this “continuous murmur” in the background denounces the appearance of pathology. We are on the threshold of the great reflection on consciousness, between physical and psychic, which characterized the late twentieth century. But there is more than just an interrupted discourse in the last pages of the broullion.
In particular, I am referring to the two extraordinary works that are Walter Benjamin’s Passagenwerk (The Arcades Project) and Antonio Gramsci’s Quaderni del carcere (Prison Notebooks) —stories and forms of writing that are interwoven in time of danger. Undoubtedly the accomplishment of Birgit Wagner—Romanist and Gramscian of the University of Vienna—is the emphasis on “elective affinity” between authors who have had varied receptions but are still widely recognized as the innovators of international cultural studies.
For now, we are interested in underscoring the objective contribution that De Martino’s last work can give to the constitution of an “Italian” paradigm of cultural studies. ” As we read in his famous letter to the philosopher Antonio Banfi in 1941, he does not hesitate to define himself as “an ethnologist . . ” In this study, we have a work that in its form as well as its content makes a difference in the twentieth century, just as the Arcades Project or the Prison Notebooks do. I would like to focus our discussion, if only cursorially, on the content of these works.