The beautiful summer. Three novels
The beautiful summer. Three novels is the title of a trilogy of novels by the Italian author Cesare Pavese . The La bella estate collection published in 1949 . Tre romanzi contains three independent novels: La bella estate (created in 1940), Il diavolo sulle colline (1948) and Tra donne sole (1949) and was awarded the Premio Strega in 1950. The German translations of Charlotte Birnbaum ( The beautiful summer and the devil on the hills ) and Catharina Gelpke ( The lonely women ) were published in 1964, 1963 and 1960 in separate editions and in 1984 together as Die Turiner Romane . In the first two novels, the author addresses young people's search for orientation. In this phase of dissatisfaction, they vacillate uncertainly between traditional role models and individual anti-bourgeois attempts. The third novel deals with the social homelessness of a woman who has risen from the working class and is emancipated through her profession in the upper bourgeoisie.
overview
The stories of the novels, which are divided into many small chapters, take place in Turin and the surrounding area in different social classes: artist bohemian scene, winegrowers in the hill country, upper-class lifestyles in the city with “dolce far niente” excesses of the rich. The main characters of the “beautiful summer” and the “devil on the hills” are the girl Ginia and the students Oreste, Pieretto and the narrator. All are in the intermediate stage between youth and adulthood. In the “lonely women”, on the other hand, the protagonist Clelia has established herself as a fashion designer. The three novels have different personal, social focuses with overlapping areas, e.g. B. the young artist scene, the restless, hectic party hustle and bustle with superficial chats, the contrast between enjoyment and work orientation of people and the question of the meaning of life.
content
The beautiful summer
Pavese's novel is about the search for orientation of young girls: “The girls only had to step out of the house and cross the street, and they were downright intoxicated; Everything was so beautiful, especially at night, that when they came home dead tired, they still hoped that something would happen [...] that it might suddenly be daytime and [...] one could go on and on, all the way to the meadows, up behind the hills. "
The main character is the sixteen to seventeen year old Ginia. In this summer-winter story, she lives in an unstable state. Since her parents are no longer alive, she lives with her brother Severino and takes care of the household. Ginia works in a tailor's workshop, Severino is responsible for street lighting at the municipal utilities. After work, she meets up with her friends, most of whom are factory workers, in dance halls, in the cinema, on walks through the city or to the "hill", while sunbathing by the water. Everything takes place in a cheerful, carefree summer atmosphere. In contrast to the other girls, she has not yet had any sexual experiences and no boyfriend. All of their relationships are non-binding and temporary. While Rosa has changed lovers several times, Ginia is cautious and anxious despite her curiosity and her desire for a man. She is looking for a different life, but has only approximate ideas and longings. So she dreams of next summer when she is a little older.
A new situation arises through the acquaintance of the more mature nineteen to twenty year old Amelia. She earns her money by modeling naked painters and apparently also prostituting herself. She introduces Ginia to the casual student bohemian life of the artists. This anti-bourgeois world has its charm for Ginia: the chaotic, untidy and dirty apartments. The irregular life. The inscrutable relationships between the models and the painters. The shame and the desire to show the body to an observer and to have it depicted and the curiosity about the result. She watches as the friend lets the painter Barbetta draw her and through Amelia gets to know two young painters: Guido and Rodrigues. She falls in love with Guido and has her first sexual relationship with him. But he is only interested in his painting, no girl is as beautiful as a hill. His models visit him. a. Amelia, and doesn't want any permanent ties. He treats Ginia in a friendly manner and desires her sexually when she visits him in his studio, but he doesn't care and speaks in his unheated room in a condescendingly masculine chauvinist manner of the models: "You girls don't suffer from the cold [...] you are made to be naked. ”Meanwhile, winter has come. It's cold in the studio, in keeping with the atmosphere, and the mood between the four main characters is tense. Ginia puzzles over their relationships and is jealous of Amelia, even though she has since learned that she has syphilis through a lesbian relationship. Then she decides to overcome her inhibitions and let Guido paint her naked. Rodrigues suddenly appears and sees her. Everyone laughs and tries to comfort her, but she breaks off the session and runs crying out of the room and through the lonely snow-covered streets. Guido comments on her escape with "she is a stupid thing". Ginia feels unhappy and briefly thinks about suicide. She blames herself for the situation, laments her immaturity and no longer goes to the painters. There is no news from Guido. Ginia concentrates more on her work at Signora Bice and thinks about next summer. This winter she lost her innocence and symbolically avoids looking at the snow-covered roofs. She starts smoking and her further development is open. This becomes clear when Amelia visits her one evening. Through her, Ginia learns that Rodrigues is impressed by her, but wanted to know whether Amelia likes her too, and that Guido is jealous of him. Ginia wants to leave herself to Amelia's leadership, who will be cured of her illness in the spring.
The devil on the hills
In the second novel in the trilogy, the author shifts the plot to the eastern rural hill country surrounding the city. The main characters, three 20 year old law and medicine students from middle-class families, are just like the protagonist of the “beautiful summer” looking for the meaning of life and for a perspective. The first-person narrator and his two friends Pieretto and Oreste are night strollers. You drift through the bars, the cinemas, the streets of the city. When they have spent their money, they hike on the hilly landscape to “wait for the morning to come”, or they meet to swim by the river or the sea: “We were still very young. I hardly slept that year ”. They talk about the world, nature, life and death, but less about very personal questions of love and relationships with women. In the trio, Pieretto is the critical observer and skeptical analyst of bourgeois conventions and their contradictions, Oreste the pragmatic farmer's son and future country doctor. Even in the group, the narrator is basically a loner who seeks the experience of nature on the river, in the cultivated vineyards and wild summit regions of the hills, where he feels like on an island, far away from the people, with an overview of the wide horizon . With Oreste he shares his childhood in the country, with Pieretto the discourses about life and the curiosity about the decadence of the landlord's son Poli and his wealthy Milanese friends, who numb their boredom with extravagant parties.
The action takes place in the summer months before the students' exams in the fall and begins with a night excursion into the hilly surroundings of the city. You are looking for the highest point of the slope in order to find “a balcony that looks out onto the world of wide plains” and to see the sea of lights in Turin. Here they meet Poli, whom Oreste knows from his childhood. He interprets Orestes wanton scream in the night as a call to awakening for a new life: “That scream showed me to myself. I have no illusions. […] [M] an feels free and responsible. There is a terrible power in us, freedom. ”. As the novel progresses, he is the son of a wealthy Milanese family, who was neglected by the family in his childhood, grew up neglected in the villa of the vineyard on the Greppo, never had a solid life and is addicted to cocaine. He is currently separated from his wife in a tense relationship with his lover Rosalba. When he looks at the city like the friends from the hill, he feels like God. Pieretto is interested in Poli's "need for experience, for danger, and the boundary-setting environment in which one lives" and encourages friends to visit him. He and Signora Rosalba invite her into his green car and drive back and forth across the landscape to a glamorous restaurant with a band, a singer and dance, where they stay until the early morning. The next day the narrator learns that Rosalba shot Poli in the hotel and seriously injured him because he wanted to part with her. Poli survives, Rosalba later commits suicide.
In the first days of August, the three of them meet in the farm of Orestes parents in the hills southeast of Turin near San Grato to spend the summer holidays together in a village cultural-natural landscape. You take part in the traditional life of the extended family, let your father show you the vineyards and the farm buildings, go to the “Mulino” for a drink, visit cousins Davide and Cinto in Mombello, stroll through the area, bathe naked to experience a state of natural paradise, in a remote, ingrown pond “at the bottom of a depression from which one could only see the sky and the bank with its blackberry bushes. In the glowing noon the sun fell vertically on it. "Pieretto explains:" The swamp is something different [...] [a] ls these vineyards, for example. Here man rules and down there the toad. ”Oreste is at home in the village world and toyed with the idea of marrying the tailor Giacinta after completing her exams and serving as a country doctor. But then he falls in love with Poli's wife Gabriella while visiting Polis on the hill Greppo. The vineyards of the former estate are overgrown and overgrown by bushes. The residents are bored in solitude and are grateful for any conversation. So the friends stay in the villa for a few days, talk to Poli about all possible questions in life, drink a lot of wine and sleep off their hangover. Gabriella playfully flirts with Oreste and the narrator, while her husband apparently ignores her demeanor. His philosophy is the exploration of life, the border areas down to the depths: “To forego life with such a small truck, with next to nothing. You can discover a whole world there. ”For the narrator, who admires the archaic work of the winegrowers on the slopes, the stay on the mythical Greppo summit is“ wild terrain of no use ”, like island life outside of civilization. And accordingly he also classifies the feral people in this place. Several times he thinks about returning to his “usual life” in Turin, but he has “it already in his blood, that mountain” and enjoys its natural atmosphere: “There was that indefinable smell of August, of salty earth, stronger than anywhere else. And there was the desire to think about it at night under the great moon that made the stars appear thinner and to feel the mysterious hill everywhere at our feet that lived its life ”. As it becomes clear towards the end of the novel, Poli has contracted pulmonary tuberculosis and his father sent him to the secluded villa to relax, but he continues to smoke, drink and use cocaine. His wife is supposed to look after him, but has no hope of recovery and is happy when Milanese night owls suddenly appear and celebrate a lively party. But that is only one of her spectacular appearances, because she is tied to life with Poli: “There is nothing more useless than me [...] I'm sick of life”. In contrast to her, Oreste takes flirting seriously and threatens to be uprooted from his rural society. After a Polis hemorrhage, he and Gabriella are picked up in their father's car and taken to Milan. The friends return to Orestes village and go to "drink in the Mulino".
The lonely women
The first-person narrator Clelia Oitana has broken away from her class of workers through her professional advancement and is now part of the “master class”, but only as an employee without assets. But she despises their idleness lifestyle and is proud of their work and their emancipation. But with that she stands lonely between the social classes. With this last novel in the trilogy, an arc is drawn to the first: like seventeen-year-old Ginia in “beautiful summer”, Clelia comes from a humble background, worked in a tailoring studio, went to dance, to the cinema and to the “hills” with her friends also had a relationship with a Guido when she was seventeen. Then she left her boyfriend and Turin and made a career in Rome in a fashion salon that dresses wealthy customers. The center of her life is work, privately she avoids fixed ties e.g. B. to her Roman lover Maurizio or to her courting young architect Febo. An intersection of the two novels is, besides the social conditions, the artist scene and their unbounded lifestyle, which are shown on the one hand from the inner perspective of an inexperienced girl entangled in bohemia and on the other hand from the distant observer perspective of the visitor.
At the beginning of the novel, after seventeen years, the fashion designer returns to her hometown in January at the time of the carnival in order to move forward with the sluggish establishment of a new branch. Immediately after arriving at the hotel, she experienced symbolically the removal of the twenty-three-year-old Rosetta Mola after attempting suicide. After that, her stay in Turin resembles a sequence of stations: a short visit to her old workplace in Via D. Chiara, where her former colleague Gisella became the boss's daughter-in-law and now runs the shop. Negotiations in Via Po with the site manager, the contractor, the foreman Becuccio and the architect Febo, who drafts the furniture for the Turin branch for them. Morelli, an elderly wealthy businessman who lives separately from his wife and whom she knows from the beach baths near Rome, leads her through the upper class societies, the receptions, the salons and the art exhibitions. Right at the beginning he offers her to live in his villa instead of in a hotel. She doesn't get involved and refuses. He knows the life of the rich and practices a well-groomed lifestyle. With her work ethic, she distinguishes herself from his claim to enjoyment of life and his understanding of the “dolce far niente” of the rich. It is the basis of their ascent from small backgrounds and their personal independence. With self-confident cosmopolitanism, she appears as a Roman to the upper-class citizens and lets Turin customers feel that they live in the fashion province from which she has escaped. She keeps the men at a distance and makes the decision about a brief sexual affair themselves. She is regarded as the benchmark in fashion issues, is admired by young women for her emancipated life, drawn into conversation as a consultant on life issues and asked to mediate in disputes: by Mariella, the loud and lively granddaughter of the worthy patrician Donna Clementina, by the sculptor Nena and the depressed Rosetta. An ambivalent relationship develops with Momina, a baroness and socialite full of life weariness with opaque preferences and relationships, who has separated from her husband, the squire Neri. At the beginning it seems to be a kinship, because Momina like Clelia has no ties despite the many contacts. This is the circle of lonely women.
Alongside Morelli, Momina is Clelia’s most important caregiver and guide through Turin society. They drive through the city in their green Topolino , meet for an aperitif in the Piazza San Carlo, talk about life and the big fashion cities in Europe, where one should actually live, they stroll with Morelli before they end the evening in his house "Through innumerable restaurants, climbed up and down stairs, fur coat off, fur coat on, just a dance and on, there were lots of faces that I thought I knew, finally Momina got lost and we found her again under the door of the next restaurant, where she chatted and laughed with the porter. " In Morelli's house, Momina asks Clelia three times the central question for everyone in the novel, whether she affirms life, and Clelia evades and does not give a clear answer (Chapter IX). This is where the two women differ. Momina would say no to this question for herself. Sometimes she is gripped by "disgust for life, above all and everyone, for the time that rushes so fast and yet never passes [...] It is all that which has no meaning". Clelia fears that Momina, with her often cynically cold and provocative negative view, indirectly contributed to Rosetta's suicide attempt. In conversations with Morelli (Kp. XIX) and Rosetta (Kp. XX), she describes the increased weariness of rich women due to the cycles of their constant celebrations as a result of their unemployment and their exaggerated expectations of freedom without effort. She herself knows the life of working-class girls and the dependencies on macho men. She has acquired her personal independence through her own efforts, does not want to reveal this as a wife with children and even enjoys “being alone”. Pragmatically, she knows that submission to her boss' orders is the price for her independence. If she is in the mood for a brief relationship with a man, she does not seek out a rich idler or upper-class gallant like Febo just waiting for such an opportunity, but rather the worker and communist Becuccio, a partner in line with her work ethic, and only for one evening in a restaurant and one night in a simple hotel (Kp. XXIV, XXV). This happens in a mutual direct way only at the end of his employment in the branch and therefore has no influence on their professional relationship. It is clear to both of them that there is no continuation.
While Morelli attends the serious events with Clelia, through Momina she gets to know the frivolous, pleasure-addicted and creativity-seeking scene. An amateur theater project “Maria Magdalena”, which does not progress from the planning stage, connects the girls and women with two artists. Clelia and Mariella visit the painter Loris, who is responsible for the stage design, and his girlfriend, the sculptor Nele, in their studio. Loris is tired and suggests playing in the dark. Momina joins them and they lead fruitless discussions that are increasingly distant from the project.
Clelia travels to Rome for a few days to consult with the headquarters. There “Madame”, the boss, has a new idea and changes the designs. Clelia returns with the instruction not to look for modern, but for baroque pieces of equipment for the studio (Kp. XV). Madame signals to her that she should run the Turin branch and Clelia prepares, without much regret, not to return to Rome, especially since it is an opportunity to let her relationship with Maurizio come to an end. In Turin she is now working intensively on the opening for this spring. She lets Morelli lead her through antique shops and art collections in search of ideas, so she drives to Milan with Febo, visits a village festival with him on the way back and realizes her social homelessness when comparing the intrusive, elegant Febo with the simple locals (“Here flows Blood ") consciously and reacts angrily to it and rejects it (Kp. XVIII).
The idler society is constantly on the lookout for new stimuli: receptions, Loris' and Nena's studio happenings , exhibitions, visits here and there, meetings in restaurants and cafes. Everything with a lot of alcohol, cigarettes and always the same people, the same conversations about relationship problems, love affairs, hidden rivalries and life prospects. Even on short-breathless excursions with fully charged, fast cars into the mountains or to Noli on the Riviera, where you spend the night in the villas of befriended families, the circle just shifts its actions like a traveling circus. For example, at an art exhibition, one spontaneously decides to take a trip to the casino in S. Vincent in the mountains. On the outward and return journey, Momina and Clelia stop by Rosetta's parents' villa in Montaldo and take the girl who has recovered from the suicide attempt to S. Vincent. After Clelia's short trip to Rome, the three speak in the hotel, the site of the suicide attempt, about the reason for the veronal poisoning after a ball. Rosetta explains that there was no specific cause, just a general disgust not only with men but with life as a whole, like Momina feels it too: “For some time she has been disgusted by the night; the thought that another day was over. The loneliness with her disgust: lying in bed waiting for the morning, it had become unbearable for her ”. Rosetta has a desire for innocent purity and would have liked to have gone to a convent as a nun. Clelia sees her for the last time on the evening of Loris' happening. He laid out in his studio and thus celebrated the death of his second period as a painter (Kp. XVIII). Because the visitors are bored with this installation and no mood arises, the group breaks off on a whim to a simple bar in the brothel district to continue drinking. “They discussed and discussed” and then the night owls get involved in the fun of the men to score their companions for their suitability as prostitutes. Mariella and Momina quarrel about the leadership position, they find no use for Rosetta and classify them as Red Cross girls. Soon afterwards she poisoned herself in a locked rented room with a view of a pilgrimage church. With this the author draws a bow to the beginning of the novel.
The plot that began with Clelia's arrival and contrasts with the idlers comes to an end. The work on the new fashion salon is finished and Clelia, as the future manager of the branch, is putting together the program for the opening event at Easter and is looking for mannequins for the fashion show of the spring models and employees. When she learns of Rosetta's death, she blames Momina, she accuses her excitedly, “It is her fault [...] even if Rosetta did not commit suicide. I felt that I was right and that I could take revenge. […] Momina looked at the carpet and did not try to defend herself. [...] the words, the faces, the looks of Rosetta came to my mind, and I knew that I knew, had always known and didn't care. But then I said to myself, 'Could they be stopped?' "
Narrative form
The actions of the three novels are presented from a limited narrative perspective: "The Devil on the Hills" and "The Lonely Women" have a first-person narrator and a first-person narrator who only describe the events and the conversations that they have experienced or . which were communicated to them. This leaves many information gaps, e.g. B. about Amelia or Momina. Although the contents of the first two novels are initially identified as a previous stage of development of the protagonists (“Back then it was always a festival”, “We were still very young”) and one expects a framework plot, but the end leaves the further development open. The anonymous narrator of the “beautiful summer” also conveys the point of view of only one person: The plot is told in personal form from Ginia's perspective. I.e. Ginia is the reflective figure of the events presented in Er-form. The reader experiences their perceptions, thoughts and reflections and only sees the other people in their behavior and in their conversations.
reception
The novels of the Turin trilogy, which is one of the author's late works, were received on the one hand in connection with his biography and his suicide in 1950 and searched for relevant clues, and on the other hand, their importance for Italian literature was recognized.
For “The Beautiful Summer” and “The Lonely Women” the reference to Paveses school and student years and for “The Devil on the Hills” to the childhood places in the hill country south of Turin is recognizable: “The hills of the Langhe , Piedmont , are for Pavese mythologically and erotically enchanted archetypes. "Breasts", "nipples" is what he calls them. How much more was this landscape for him sensually charged in summer [...] In these first two novels of the Turin trilogy, lust for life and erotic longing can still be felt. " Walter Jens creates another biographical connection to “The Devil on the Hills”: “In three figures, in three mirrors of himself, Pavese wanted to concretize his own dream of aimless strolling, wandering through the city and letting sight rub. [...] Paveses characters are players; but players with suicidal masks, figurines without decisiveness or profile; Figures whose fate is never to be allowed to be completely serious because the trinity of boredom, romance and intoxication destroys any true bond. […] The mourning over the passing of time and the lost summer; farewell to youth; the longing for the mythical twilight of childhood - these are all codes for that forlornness that Pavese wanted to illustrate again and again using the example of homesickness for the rustic. City and country, Turin and the hills, the asphalt and the wine, sophistication and Georgian happiness: nowhere is the antithesis that has been familiar since the poems sharpened with such consistency as in the novel "The Devil on the Hills" "
The city novel “The Lonely Women” is viewed by some literary critics as the highlight of his work: “With the last volume of the Turin trilogy“ The Lonely Women ”, Pavese felt himself at the height of his literary possibilities, which was reflected in the award a few months later should confirm the prestigious Premio Strega in June 1950. His great success as a writer seemed to reinforce the feeling of not being up to life. ”In this novel, Pavese clearly inscribed herself in the first-person narrator,“ in this Clelia: as an observer who legitimizes her life by being active . […] Pavese was a tireless worker. [...] But the hustle and bustle is only half the story. Pavese is a bit like Turin: on the one hand rational, clear, hard-working and pragmatic. On the other hand, however, shimmering unreal, dreamy, turned towards the magical. With the suspicion that all his actions could be in vain, Pavese borne himself early on. [...]. The hard-working, sexually "functioning" Clelia of the "Lonely Women" is only one side of Paveses, perhaps his ideal. The other is called Rosetta. The girl who suffers from inadequacy in herself will repeat the suicide attempt at the end of the novel. ”This is a literary anticipation of Pavese's suicide.
Another focus of the reviews is the novel language, which was new for Italian literature of the 1930s and 1940s: “[E] r began to work with the spoken language, which was tantamount to a revolution, because the Italian literary language alternated between arts and crafts academism and pompous baroque . Slang appeared in his novels, he played with sociolects and syntactic connotations from the Piedmontese dialect. Pavese demanded a discovery of the Italian landscapes, because only here are there traces of a primordial state from which something of its own could develop. This is the prerequisite for stories about the contemporary conditions of the individual, and that is exactly what the novels of his Turin trilogy revolve [...] At the same time, Pavese was concerned with participating in a sphere of the mythical, which he said on a theoretical level with reference to Giambattista Vico, Nietzsche , Cassirer, Bergeret and Lévy-Bruhl tried to orbit. He even devised an - incomplete - poetics of myth. For him, the myth contained the germ of poetry, which the poet had to organize with his logos, but only the “source” of the irrational could inspire him. "
In his analysis of the “Devil in the Hills”, Jens focuses on the conversational technique: “I think it was one of Pavese's greatest merits to have illustrated the way of thinking and reasoning of this bourgeois jeunesse with the help of a conversational technique that is similar to the dialect, the stylized high-level language and the jargon of the student discussions. No other writer of our time, including Hemingway, has succeeded in drawing the nuances of conversation, the swaggering past each other and talking for the sake of talking, the dialogical monologizing and the rabulistic casting of nets with such simple means. The more abstract the characters argue, the more pathetically they proclaim the mystery of suffering and freedom, the more certain the reader can be that the empty phrases only serve to camouflage something very private; and the more personal, on the other hand, Poli, Pieretto and Oreste appear, the more multifaceted and profound the conversation becomes. Not what the individual says is significant for Pavese: He only depends on the pattern, on the summation of the most varied of voices. So no matter how subtle, abbreviated and ambiguous the sentences are: the overall melody is understandable and clear. If you listen more closely, behind the phrases you can hear the lamentation of people crying for the expulsion from Paradise. […] Pavese loved both at the same time: the glamor of the parties, blues melodies, torn sentences and the immense silence over the country. [...] No, there are not many authors who reach or even surpass Pavese in drawing the atmosphere and evoking feelings, describing smells and depicting nuances of mood. With a dozen of leitmotif related terms, hill, moon, drug, brightness, night, and with the help of a dialogue that consistently dispenses with naturalistic illustrations, the great Italian author succeeded in changing the world from the ground up. In order to achieve this reconfiguration, Pavese in his novel set the events on three different levels (Turin, Orestes village and the Greppo prison of the dying Poli), which are assigned to the main characters as local equivalents. "
"The lonely women" in the new translation by Maja Pflug (2008) is for Paveses "crystal clear, everyday language, trained on American models", which brings his literature close to the neorealists, for the tension between "an almost inconsiderate superficial narrative tone" and an “atmospherically highly effective precision work” as well as for its cool elegance on the one hand and also for the 'ostentatiously lascivious and vulgar dialogues' on the other. The role of the protagonists, which initially appears to be dispassionate and reporting “from the edge”, and their “irritable laconicity” reveals itself to be the “magical melancholy” of the text.
Adaptation
"The devil on the hills". TV film by Vittorio Cottafavi with Daniela Silverio, Matteo Corvino, Urbano Barberini and Beatrice Palme. 1985
literature
s. Cesare Pavese literature
Individual evidence
- ^ New translation by Maja Pflug : The beautiful summer , Munich 2002, The lonely women , Berlin 2008.
- ^ Cesare Pavese: The Turin novels. The beautiful summer. The devil on the hills. The lonely women . Claasen Düsseldorf 1984.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 7.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 77.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 86.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 93.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, pp. 111, 112.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 107.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 138.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 146.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 225.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984 p. 207.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 207.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 181.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 182.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 226.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 264.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 284.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 305.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 297.
- ↑ Cesare Pavese: "The Turin Novels". Claassen Düsseldorf, 1984, p. 346.
- ↑ Thomas Fitzel: "The symbol of his generation". DIE WELT, www.welt.de. August 26, 2000.
- ↑ Walter Jens: “Sad, useless, like a god. Cesare Paveses novel 'The Devil on the Hills' ”. zeit-online www.zeit.de, October 25, 1963.
- ↑ Maike Albath: “Women, bitter as death. A discoverer, a innovator and a desperate man: on the hundredth birthday of the Italian writer Cesare Pavese ”. Frankfurter Rundschau, September 9, 2008.
- ↑ Steffen Richter: “The inadequate. On the 100th birthday of Cesare Pavese, his most beautiful novel is being published in a new edition. ”Der Tagesspiegel, September 8, 2008.
- ↑ Kristina Maidt-Zinke: “On the dark side of the world. For the 100th birthday of the great Turin melancholic Cesare Pavese, his novel 'The lonely women' is published. Die Zeit No. 37, zeit-online, September 4, 2008.
- ↑ Maike Albath: “Women, bitter as death. A discoverer, a innovator and a desperate man: on the hundredth birthday of the Italian writer Cesare Pavese ”. Frankfurter Rundschau, September 9, 2008.
- ↑ Walter Jens: “Sad, useless, like a god. Cesare Paveses novel 'The Devil on the Hills' ”. zeit-online www.zeit.de, October 25, 1963.
- ↑ Kristina Maidt-Zinke, Die Zeit, September 4, 2008.
- ^ Lothar Müller, Süddeutsche Zeitung, September 9, 2008.
- ^ Anja Hirsch, Frankfurter Allgemeine Zeitung, September 3, 2008.