He was a member of the ' Generation of 45', an Uruguayan intellectual and literary movement which included Carlos Maggi, Manuel Flores Mora, Ángel Rama, Emir Rodríguez Monegal, Idea Vilariño, Carlos Real de Azúa, José Pedro Díaz, Amanda Berenguer, Ida Vitale, Líber Falco, Juan Carlos Onetti, among others. He worked in different professions on both banks of the Río de la Plata river, for example, as a stenographer. From 19 he lived in Buenos Aires, Argentina. He trained as a journalist with Carlos Quijano, in the weekly Marcha. At the age of 14 he began working, first as a stenographer and then as a seller, public officer, accountant, journalist, broadcaster and translator. In those years he learned shorthand, which was his livelihood for a long time. For two years afterwards he studied at Liceo Miranda, but for the rest of his high school years he did not attend an educational institution. His father immediately removed him from the school when Nazi ideology started featuring in the classroom. Mario completed six years of primary school at the Deutsche Schule Montevideo, where he also learned German, which later allowed him to be the first translator of Franz Kafka in Uruguay. Two years later, they moved to Tacuarembó, the capital city of the province, and shortly after that, his father tried to buy a chemist’s but was swindled and went into bankruptcy, so they moved and settled in Montevideo, the capital city of the country, where they lived in difficult economic conditions. Early life and education īenedetti was born 1920 in Paso de los Toros in the Uruguayan Tacuarembó Department to Brenno Benedetti, a pharmaceutical and chemical winemaker and Matilde Farrugia who were of Italian descent. In the Spanish-speaking world he is considered one of Latin America's most important writers of the latter half of the 20th century. Despite publishing more than 80 books and being published in twenty languages he was not well known in the English-speaking world. Now more than ever, we know that joy can be a truly difficult feat, as paradoxical as its fleeting appearance in Miori’s piece that it is deeply and intrinsically tied to its own opposite, as we learn from popular wisdom and from the story by Lagani and that its power as a positive, constructive force is earth-shaking, hence all the more necessary in these times.Mario Benedetti Farrugia ( Spanish pronunciation: ( listen) 14 September 1920 – ), was an Uruguayan journalist, novelist, and poet and an integral member of the Generación del 45. We may feel joy when thinking of the future or the past, but also when caught up in a brief moment of childlike rapture, as in the story by Cocchi- who, sadly, passed away while we were working on this issue, which is dedicated to his memory. Allegria is an awareness of disaster, an acceptance of the present, but also a will to life this model of freedom turns up in the stories by Lamberti and Di Grado, which are all about the tension between losing one’s way and finding it again, and the poems by Diana, Deotto, and Socci. Nor should we forget the allegria of Giuseppe Ungaretti, that great poet of the Great War, which sprang from a tragic sense of evanescence and precariousness, of abandonment as a necessary mode of survival at certain times. What has happened to this era of ours, which seems to have forgotten the deeper meaning of the word, to have trivialized and rejected it? We’d like to rescue joy from all those simplisti interpretations, embracing Uruguayan poet Mario Benedetti’s invitation to defend it like a trench, to defend it from the panderers of laughter.Įvery Italian remembers how Mike Bongiorno, a symbol of commercial TV in the 1980s, started off each show by shouting Allegria! But allegria is more than a pop culture slogan, and Morandini’s piece reminds us of its erudite roots in classical music. And so - joy, as a kind of utopia, nostalgia, and longing. We chose the theme word Joy because even with the worst days of the pandemic behind us, we felt like the end of the tunnel was nowhere in sight. From 2022 it is published by the publisher Le Lettere. Edited by Martino Baldi and Alessandro Raveggi, it narrates the country where we live, through key words, source of inspiration for stories and poems. Founded in Italy as an editorial project in 2016, it publishes and translates in its six-monthly issues a selection of the most important contemporary authors of the Italian literary scene, hosting new voices selected through periodic calls for submission, relevant illustrators and top English translators. The Florence Review is the first bilingual literary magazine in Italian and English.
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