Bøger af Curzio Malaparte

Curzio Malapartes essay om de italienske cykellegender, Fausto Coppi og Gino Bartali, er epicentret for litterær journalistik om cykelsport. Der er ikke den europæiske forfatter, som har beskæftiget sig med cykling, der ikke står i gæld til Malapartes hårde prosa om Italiens to campioni. Essayet er på samme tid en fortælling om overgangen fra det gamle til det nye Europa.

Curzio Malaparte was a disaffected supporter of Mussolini with a taste for danger and high living. Sent by an Italian paper during World War II to cover the fighting on the Eastern Front, Malaparte secretly wrote this terrifying report from the abyss, which became an international bestseller when it was published after the war. Telling of the siege of Leningrad, of glittering dinner parties with Nazi leaders, and of trains disgorging bodies in war-devastated Romania, Malaparte paints a picture of humanity at its most depraved.Kaputt is an insider''s dispatch from the world of the enemy that is as hypnotically fascinating as it is disturbing.

”Der er blod i Ginos årer. I Faustos er der benzin.”Rivaliseringen mellem de to cykelhelte Fausto Coppi og Gino Bartali antager episke dimensioner i essayet fra 1949 af den italienske forfatter og krigskorrespondent Curzio Malaparte (1898-1957). Hans skarpe prosa tager læseren med ind i hjertet af cykelsporten, og den berømte duel bliver et billede på kløften mellem tro og rationale, tradition og udvikling i Europa i tiden omkring Anden Verdenskrig.Forfatter og cykelkommentator Bastian Emil Goldschmidt (f. 1992) bidrager med et nyt efterord, der tilføjer moderne perspektiver og dybere forståelse af Malapartes essay.

A perverse and delicious tell-all view of the Soviet elite in the 1920s. Perhaps only the impeccably perverse imagination of Curzio Malaparte could have conceived of The Kremlin Ball, which might be described as Proust in the corridors of Soviet power. Malaparte began this impertinent portrait of Russia''s Marxist aristocracy while he was working on The Skin, his story of American-occupied Naples, and after publishing Kaputt, his depiction of Europe in the hands of the Axis, thinking of this book as a another "picture of the truth" and a third panel in a great composition depicting the decadence of twentieth-century Europe. The book is set at the end of the 1920s, when the great terror may have been nothing more than a twinkle in Stalin''s eye, but when the revolution was accompanied by a growing sense of doom. In Malaparte''s vision it is from his nightly opera box, rather than the Kremlin, that Stalin surveys Soviet high society, its scandals and amours and intrigues among beauties and bureaucrats, including legendary ballerina Marina Semyonova and Olga Kameneva, sister of the exiled Trotsky, who though a powerful politician is so consumed by dread that everywhere she goes she gives off a smell of rotting meat. Unfinished at the time of Malaparte''s death, this extraordinary court chronicle of Communist life (for which Malaparte also contemplated the title God is a Killer) was only published posthumously in Italy over fifty years after Malaparte''s death and appears in English now for the first time ever.

Experience postwar Europe through the diary of a fascinating and witty twentieth-century writer and artist. Recording his travels in France and Switzerland, Curzio Malaparte encounters famous figures such as Cocteau and Camus and captures the fraught, restless spirit of Paris after the trauma of war. In 1947 Curzio Malaparte returned to Paris for the first time in fourteen years. In between, he had been condemned by Mussolini to five years in exile and, on release, repeatedly imprisoned. In his intervals of freedom, he had been dispatched as a journalist to the Eastern Front, and though many of his reports from the bloodlands of Poland and Ukraine were censored, his experiences there became the basis for his unclassifiable postwar masterpiece and international bestseller, Kaputt. Now, returning to the one country that had always treated him well, the one country he had always loved, he was something of a star, albeit one that shines with a dusky and disturbing light. The journal he kept while in Paris records a range of meetings with remarkable people-Jean Cocteau and a dourly unwelcoming Albert Camus among them-and is full of Malaparte's characteristically barbed reflections on the temper of the time. It is a perfect model of ambiguous reserve as well as humorous self-exposure. There is, for example, Malaparte's curious custom of sitting out at night and barking along with the neighborhood dogs-dogs, after all, were his only friends when in exile. The French find it puzzling, to say the least; when it comes to Switzerland, it is grounds for prosecution!