How To Conduct Discussion

Vieni via con me



Exit book that collects the stories told by the writer to "Come away with me" from "La Repubblica" the entry with a personal top ten. Saviano's book will present tomorrow in Milan, Feltrinelli library Piazza Piemonte at 21.

"If your job is writing, television is like trying to breathe underwater. You can not do because you do not have gills, you must find a way, any way not to die of suffocation. When I met Fabio Fazio intending to tell stories on television in Italy, instinctively my answer was yes. I was excited, but I made only a slight nod as if to say yes my body was more than my thoughts. I was flattered by the proposal, but I could see many difficulties. The idea was born after a single episode of transmission of Fabio that I attended had reached in the early evening, listen very telling tall stories of the Camorra, books, and persecuted writers. But working with a television program, build it from first to last minute, for a writer has something unreal. "You'll see that we can," he said Fabio, who understood what was stirring in my head and wanted to somehow calm down. From that moment we shared everything, satisfaction and doubts, fears and anger as it is rare to happen, or at least as it had never happened to me. You
an adventure game made up of tension, sadness, passion, an adventure that gave me vertigo and can really see a path beyond the night. The night of this country. For the general management of the transmission had to be a niche, was to speak only to the few (for me that were already a multitude) who followed my earlier work on RaiTre.
But this time we had in mind something different. People were thinking of a transmission, a transmission that could reach a wider audience. That was the story and entertainment. This is what generated the initial short-circuit, the controversy over compensation, the political concerns of the company, suspected of a complaint Prior, underground, the clear impression that you want to stop our words.
Do not be naive in comparing this situation with that of countries where there is a total censorship of the media. Italy is Iran's Ahmadinejad or Castro's Cuba, where my peers are not allowed free use of the Internet, where it is not granted to the winner of international journalism awards go to collect or to return for the Athletes 'farewell to a dying parent. Italy is not growing that China does not allow dissent or whatever it was Pinochet's Chile. We are not prey to fascist totalitarianism. With us, however, the censoring mechanism is insidious because it is not immediately recognizable; its goal is to put a thousand difficulties to the implementation of a project, in the shadows, and then let the facts speak for "go bad", "Do not look at anyone," "Have you done listening to the third evening." At the end of the paradox in front of which we were has become clear: an editor who not having the strength to reject a transmission, does everything to make it go bad, to minimize the audience and forcing it into a niche where not give more discomfort.
We, however, dreamed of an ambitious program of quality, with important guests: a program to a large audience and able to tell Italy that rarely appears on television. We wanted to talk about the car of the mud, the mafia and politics, how the exchange of vows, lies on the earthquake, living wills, business waste. And it was clear that they were just afraid to make the contents of the transmission. On those, however, none of us was willing to deal with: they were an expression of our freedom. The dream (or ambition) was talking to that part of the country that is actually the largest, who want to reshape our land, to rebuild it so I want to say that we are not all equal and that our diversity lies in the ability to make mistakes without being corrupted, in having weaknesses that do not involve blackmail and extortion. Some of my reconstructions have been described as "infamous." "For the North Saviano is rubbish", "For Saviano il Nord è mafioso", hanno scritto e ci hanno addirittura definiti "partito della morte", semplificando al massimo quello che avevo raccontato in trasmissione.
Eppure, nonostante gli attacchi, le persone che ci guardavano da casa non si sono sentite più solo spettatori, isolati ognuno nelle proprie stanze, in platea o davanti al computer. Non ognuno che porta con sé lo sconforto di una storia triste o l'energia vitale di una bella storia. Ma qualcosa che senti si muove, la voglia di capire e di agire, di essere nelle cose. Non volevamo costruire una realtà parallela, ma raccontare come in un teatro greco, dove tutto è parte della vita della polis, dove c'è partecipazione, immedesimazione. Ascoltare un racconto and feel it is just like receiving a formula to adjust the world. And the miracle of this strange adventure television were the plays. We went to bed on Monday assured that the next day we had the usual accusations of having made a plan seen by few, only for fans and deployed. But something happens that we could not predict, because it never happened before. Come away with me beats every record plays on Raitre. It beats what was impossible to beat: Big Brother, reality. It happens that my monologues cashing a share higher than that of Inter-Barcelona in the Champions League. One thing was unexpected, unpredictable and disconcerting to us. I myself when I say I can not get up in the fund to believe.
Reaching so many people to change your life. Every day I came thousands of letters and messages of people who gave me their closeness, solidarity. I was often defended and embraced by a humanity which had for too long underestimated the strength, dignity and passion. But it also happens that there are those who slowly begins to hate, who was not invited to the transmission, those doing other programs and feels overcome or at least overshadowed. And understand that you never imagined: that there is a lot better for television to justify the horrible horrible world, rather than a mean to transform things, which puts a strain on everyone. But in those hours that really gets to me, despite the criticism, it was felt in every part of me that through television, an instrument that often seems pointless, sometimes seen as a machine to obscure their minds, it was accepting a desire to transform, to change, however, to say the you think politically, the country is different from what is represented, other than its political class, other than the disaster that is going through.
And the initial challenge was to tell this through different lists that Italy would have been the backbone of the transmission and grammar. A simple idea, because the lists are containers that can hold everything, every experience, every story. For this public participation was Maximum everyone thought to its own list and transmission, via Facebook and the site, there came in their thousands. Beautiful, funny, dramatic. And I thought the scene of Manhattan the films of Woody Allen, when lying on the sofa reflects "the idea for a story about sick people, who continually creates unnecessary problems and neurotic because this prevents him from dealing with the most terrifying and insoluble universal problems. " And as an antidote, Allen thinks something optimistic to a list of the things worth living for. Of course this is a gimmick, the chronically ill and he is optimistic the list is for him and only him to hide it from the unnecessary problems and neurotic as he is jailed. Woody Allen quotes Groucho Marx, Joe Di Maggio, the second movement of the Jupiter Symphony, Louis Armstrong, Flaubert's Sentimental Education, the Swedish film, Marlon Brando, Frank Sinatra, those incredible apples and pears painted by Cezanne, the crabs Sam Wo's and Tracy's face. A list that is slightly more than a moral guide for the perplexed.
have always been drawn from the lists. One day I'd like to write books of lists. And I am sure that the list of things that make life worth living is a basic exercise to remember what we are made. A paper constituent of ourselves. I'd like to spend time listening to what people write, their ten things that make life worth living. I would piaciuto poterle leggerle in trasmissione. Ma le parole bisogna sempre saperle risparmiare. Qui, però, ho la carta davanti, lei non si sottrae mai. Purtroppo e per fortuna.
Ecco il mio elenco. Ecco le dieci cose per cui, per me, vale la pena vivere:
1) La mozzarella di bufala aversana.
2) Billy Evans che suona Love Theme From Spartacus.
3) Portare la persona che più ami sulla tomba di Raffaello Sanzio e leggerle l'iscrizione latina che molti ignorano [Ille hic est Raphael, timuit quo sospite vinci, rerum magna parens et moriente mori].
4) Il gol di Maradona del 2 a 0 contro l'Inghilterra ai mondiali del Mexico
'86.
5) L' Iliade .
6) Bob Marley che canta Redemption Song ascoltato nelle cuffie mentre passeggi libero.
7) Tuffarsi ma nel profondo, dove il mare è mare.
8) Sognare di tornare a casa dopo che sei stato costretto a star via molto, molto tempo.
9) Fare l'amore.
10) Dopo una giornata in cui hanno raccolto firme contro di te aprire il computer e trovare una mail di mio fratello che dice: "Sono fiero di te"." (da Roberto Saviano, Le cose per cui vale la pena vivere , "La Repubblica", 01/03/'11)

Can Colon Ca Occur In 3 Yrs

Flora ferroviaria Ear


"Poi dice l'ebook. Eh certo, l'ebook, il libro digitale, i cristalli liquidi, lo schermo retroilluminato ... Arriverà, arriva, lo sappiamo; siamo ready and, indeed, expect it, confident and assured that it will be wonderful. But every now and again, here, you're gonna get a book, a marvel, so small, nothing special, nothing special. But it makes you realize why we are still well attached to these blocks of paper and emotions. It really would not know how to do without. This small book of all I like: this gray cover, and this band of uncertain red crosses and the belt, lovingly, a photo of track that parade and a wagon anonymous down there at the top. The characters of the pages and cover, elegant, crisp, well printed, the endpapers, yes, red, and all the graphic design, as true masters of the profession, by the fact Swiss study CCRZ Balerna. Enough with the descriptions short, then, so do not make it, go to see the book, rather than on their site . But
this title. Sublime. Flora train. With Outbuildings: Or the revenge of nature on man. Botanical observations on the area of \u200b\u200binternational station of Chiasso 1969 - 1978 . You see I was right to quell'occhiolungo Arbasino? We should go at least in Chiasso, to make the trip? Above all, the project is wonderful, the idea behind this quirky book and quell'ancor most eccentric character who was Ernesto Schick (1925-1991), author, famous 'designer plants'. Released in 1980 for Credit Suisse (copies now unavailable, those who have it if he keeps even Maremagnum it tells, and officially), so this book is the fascinating 'story' of a rematch, but at the same time , The Chronicle, page after page of a true love. Legally, as the title says, is that of plants, flowers, herbs. 'This work aims to demonstrate - Schick writes on the first page - the vitality of nature in a thankless what can be the switching station of Chiasso'. And 'how true these comments can testify the workers engaged in the maintenance of roads and railways'. Here, then. Work on the construction of a railway junction, quello di Chiasso, dal 1957 al 1967. Ruspe, cementi, chimica, diserbanti, ferro, metalli, binari, scintille, scambi, fumo. Progresso. Poi, però, c'è il ritorno, dapprima timido, di 'piante pilota', quelle che sfidano la desolazione e, pian piano, preparano il terreno ai fiori più belli, che verranno solo in seguito. Fabio Pusterla , sommo poeta di quelle terre ticinesi, non poteva non restarne affascinato e, oggi, in questa nuova edizione della Flora ferroviaria - notazione scientificamente inconsistente, poeticamente formidabile - chiude con una lirica e un ricordo. 'Non si tratta di nostalgia, niente affatto - scrive Pusterla - è che in quel paesaggio devastato ritroviamo qualcosa of us, a strange mixture of venom and life '. These are the final, golden, words of the book, then the photo controcopertina: a shiny platform and two legs in the foreground, to steal the scene. You bet. Ernesto
Schick was a 'designer plants', as it describes a participatory preface (read it: how beautiful!, How strong!) Thanks dad, former President of the Swiss League for Nature Protection. And that his project, his gesture of love, is nothing but the classification as an amateur expert, plants that have recolonized the area of \u200b\u200bits tracks. Anything else? For every plant and flower design in detail, attentive, sensitive, respectful anche delle specie aggressive. Rientra, Schick, in una lunga teoria di amanti del genere botanico, o di curiosità naturalistiche. Genere che torna: tanto per dire, Chronicle Books ha da poco ristampato il fantastico Mr. Marshal's Flower Book , il più bel trattato inglese illustrato sui fiori del XVII se. O guardate la Taschen e la sua monumentale edizione di The Vegetable Garden della Vilmorin. Le illustrazioni di Schick sono, invece, minute, piccine. Accompagnate da notazioni altrettanto rifinite e, di nuovo, amorevoli. Della Circaea : 'Bisogna osservare i fiorellini con una lente, per apprezzarne la schiva, umile bellezza'. Di un orzo selvatico: 'Lo trovai sulla sella di lancio, bistrattato, sporco d'olio'. Di altre piante che 'si sono mosse proprio come gli autostoppisti'.
Il libro è stato ripescato da Simonetta Candolfi e Nicoletta De Carli. A loro il merito di averlo ripubblicato, creando appositamente la nuova casa editrice. Scrivono: 'Questo libro è dedicato ai vecchi lettori, che hanno contribuito a tenerlo vivo, e a quelli nuovi che si lasceranno contagiare dalla poesia delle piante viaggiatrici'. Chi non si commuove a una tal dedica ..., sì, è pronto per l'ebook. Segua, presto, i suoi binari. Noi stiamo ancora un po' su questi. Cogliamo, qui e là, fior da fiore e, se ci va bene, sprazzi di poesia." (da Stefano Salis, C'è vita sui binari e la trovi in pagina, "Il Sole 24 Ore Domenica", 27/02/'11)

Gli irremovibili clandestini della stazione di Chiasso (da InfoInsubria)

Are Republic Tires Good

bitter


"C'è chi dice che la casa editrice Orecchio acerbo (il nome viene da un verso di Rodari) ideata e diretta da Fausta Orecchio e da Simone Tonucci sia la migliore d'Italia, quanto a progetto grafico e a qualità dei libri ma anche per l'originalità di un'impostazione attualissima che, si potrebbe dire, sta a cavallo tra libri per ragazzi e libri d'arte. In essi testo e immagini riescono sempre a fondersi perfettamente grazie all'intelligente scelta dell'abbinamento di scrittore e illustrator and interest of subjects. The criticism made by some "experts" for publishing his childhood and puberty is that these books often seem to speak more to adults, that their beauty makes them valuable as objects but unsuitable for children, but this is criticized by envy rather than compelling findings: first, because you do not see why we should give books to children in all respects and not sloppy beautiful book in every way, and: second, because the books are almost always beautiful for most age groups. Pinocchio, Treasure Island or Huckleberry Finn are only books for children?
A merit of this publishing house lies, in attention to the graphics, and the perfection of this listing page and the press, they explore the world of today's image makers, cartoonists and illustrators of talent of many nations, but mostly Italian, and is already known that newcomers or almost. Now, strong statements reached, Fausta Orecchio began to explore a new area of \u200b\u200bintervention, that of the book for young children, for children who begin to read, or know how to read recently, and of course for adults who like to spend time and attention to their children or other people's children, finding pleasure in the duty and vice versa.
books "Toon" Ear of green books are 23 to 16 formats that are often left to cover an area a prodotti superficiali, poco pensati e poco inventivi, poco stimolanti per il pubblico cui si rivolgono. Ma si sa, il mercato delle cose per l'infanzia è molto florido, e non trascura nessuna occasione di rapido guadagno. (Un'eccezione in Italia è certamente stata la serie della Pimpa di Altan, creata per sua figlia e proseguita per sua nipote.) I primi due "Toon" sono Topo Lino si prepara di Jeff Smith, testo e illustrazioni per i più piccini, che narra l'impresa di un topolino che "si prepara" per seguire mamma e fratelli in un granaio, vestendosi con molta fatica ma salvo poi scoprire che i topi non hanno bisogno di vestiti (l'autore pensa alla fatica dei bambini per imparare a mettersi le scarpe o ad abbottonarsi i pantaloni eccetera) Jack and the box and Art Spiegelman, one of Maus, a child whose parents give a box that contains a misirizzi jovial, funny bizarre provocative, and above all always cheerful. Smith
images are sharp and clear, those of Spiegelman's most complex and varied, to talk to children is already a bit 'older. And still the largest (seven or eight years, I would say) are the children who thought Joann Sfar, author of the wonderful series "adult" the rabbi's cat who triumphed in France and elsewhere. With Mr. Crocodile really hungry, the format is done by horizontal and vertical text is adapted to the messy vitality of Completion images, nervous and snappy. It tells of a crocodile tired of the jungle, where it is increasingly difficult to feed, who moves into town and you know a girl with which weaves a dialogue model, in which the two were polite to each other before they intervene in the action of convicts and a nice young alcoholic, but he is rather erudite on the reality of the girl and their hidden brutality: "The only difference between my jungle and your supermarket here is that you pay people to kill for you .
Utopia Darwinian (or reminder) to Sfar, who works on the premise that life is violence and the "human" is up to their ears.
Come si vede, non si tirano indietro di fronte ai problemi di una contemporaneità disastrata né Joann Sfar né Fausta Orecchio. La quale, pronta a proporre libri ai "grandi" del nostro fumetto e della nostra illustrazione, li invita però a misurarsi con il pubblico dei bambini, e cioè ad assumersi una responsabilità anche "pedagogica". Ha scritto, per presentare la nuova collana, che "scrivere e disegnare per i bambini vuol dire assumersi una responsabilità e al tempo stesso scoprirsi, con umiltà e autenticità. Lasciare da parte la vanità, la ‘bella scrittura' e il ‘bel disegno' fini a se stessi, a cui i più piccoli non sono affatto interessati." E cita Singer, grande anche come autore di libri per l'infanzia, che saggiamente constatava: "I bambini leggono i libri, non le recensioni. Non gliene importa un fico secco dei critici. Quando un libro è noioso, sbadigliano apertamente senza vergogna o paura dell'autorità." (da Goffredo Fofi, Orecchio fino per vignette d'arte , "Il Sole 24 Ore Domenica", 27/02/'11)

Mens Onyx Stud Earrings

Reading Diary: Vittorino Andreoli


"Il primo in Italia a spiegare al grande pubblico i misteri della psiche: ogni anno pubblica due libri, uno di saggistica (l’ultimo sul denaro), l’altro di narrativa
«Si accomodi in quella poltroncina, vuole? È lì che si sono seduti tutti. In quel periodo, dopo il 1992, questo quiet studio, an apartment in the city of the province, it seemed more secure. They came from Rome to be cured: they had seen a disintegration mondoGli encounters between psychiatrist and patient are always punctuated by silence, but with my patients Tangentopoli these losses were even more long and agonizing. For this I placed a small picture on the wall with this black mask Carnival: that was where you went to place their eyes in moments of embarrassment. "
The report of Professor Vittorio Andreoli, in a beautiful stone building not far from Verona dall'Adige, saw these and millions of other things. Psychiatrist of the most famous in Italy, educated in his city, but love of Scotland ("Stevenson, the headlights, the birth of child psychology! "), and with a long academic experience between Britain and the United States, Andreoli is also a passionate communicator: the first from us, to explain to the general public the mysteries of the psyche. Author generous, public at the rate of two books a year: one of them should be a sage and the other a work of fiction is a contractual commitment and also, as we shall see, a source of resentment. After analyzing the hardships of the Italian family, the great crime, drugs and suffering of teens, just published by Rizzoli , Money head in - this time it was up to the wise -, all focused on money.
You can not say that you are not on the news, teacher, in this Italy of blackmail where it seems that everyone has a price ... "Of course, the developments have gone beyond the imaginable, but the book was born from my annoyance against the uncontrolled dominance of economics and finance. You can not say that a rule ends up eating everything else, and we decline to rely solely on what you lose or gain. I was tired of seeing the convoluted subtleties of psychoanalysis undermined by a collapse in the stock market: I know, in the Brazilian favelas Freud is useless, but that we psychiatrists fine to be ridiculed ... My colleagues in Parma, at the time Tanzi of the scandal, told me that patients arrived in the morning and instead of bringing the dream of the night usually burst into tears: "I lost everything Doctor, doctor I can not pay ... "Behold, the beginning of the book I wonder if the money has come into the legitimacy of psychiatry. Shows that it is so and discusses the various forms: the way you illness, how to create unhappiness, addiction. E 'became the measure of all things. When, to cite Protagoras, the measure of all things should be the man. "
There is an author here, she cites so passionate and relevant, and Aldous Huxley. He was part of his reading of training? "Oh yes, I remember in the book's Alpha-Plus of New World . Huxley was an important meeting of my youth: among other things, was the brother of the biologist, and I am born from studies of that type. In those years began to appear the idea that man could be made happy even through a conditioning test tube. It was not fiction, mind you, but a scientific hypothesis ...».
What other writers have counted for her, especially at the beginning? "The first that comes to mind is Pirandello. Great psychologist, although he never had a direct relationship with the analysis. He attempted suicide, you know? His life was haunted by a mad wife, who suffers a great delusion of jealousy. One, No One hundred thousand is required reading for anyone who wants to deal with psychological suffering. But all the literature is my passion. Unfortunately due to a tragedy. "
No less? "But yes, I am a victim of forced differentiation between fiction and nonfiction. You see, I've always written stories of my crazy, since I was 22 years, I practice in the asylum of the tomb of St. James here in Verona and I carried a great schizophrenic Zinelli Carlo, home on weekends. When my mother certainly would have preferred a girl, even ugly ... The medical records of this Zinelli was so cold and impersonal that I fear, "taking medication, do not eat, accuses the evil belly ...". But it was a human being, what? Do not forget that at the time, we wondered if people with schizophrenia could see in black and white or color, and not even realize that they had put himself in a moral sense and aesthetic sense ... So, I attended those who were considered "almost men" and the cases transferred to them on paper in a narrative way. They were also the time of the conflict between the two cultures, this book has Charles Snow? My father, my hero, shouted at me: "Victorinus, but are you crazy? If you are a scientist mica can write that stuff. " For years I kept a safe full of secret manuscripts.
And when he started publishing, where he started? "The publishers wanted to essays, papers, essays! Before Mondadori, I worked for an extraordinary series, the East Then Valentino Bompiani, which engaged in a very friendly, and I thought I would publish my books. But no: "Andreoli, I've laid out the red carpet, but you know what I want from you ...". I am now, for many years, Rizzoli, I have a great relationship with Paul Zaninoni, but a contract that forces me to an essay a year. When, I'll admit, I dedicate myself to the wise 20% of my energy. The other 80 is for stories ...».
Two books a year, in addition to the job of a psychiatrist. How do you honor a commitment so pressing? "Writing does not amuse me, is a terrible effort. I have my own liturgies, my schedule, just pens, a long meditation on the construction, the working title of the index. And to work I lock myself in a place forgotten by all, in the north of Scotland, in a monastery on the Atlantic. No phones, no TV, no pests. The baker is three miles away. "
will have readings that support in times of relief. "I'm not the type who reads for distraction. My books are always aimed at a project and underlined the sheets between the pages. Moreover, even when I read, the psychiatrist extreme cases, I try my crazy there, too: I love Dostoevsky, who was insane, epileptic, great gambler. And Strindberg, and Pirandello. But first there is the Greek tragedy, especially Euripides, Medea especially .
As to poetry ... "... if he lets me do the rants Ungaretti: "The man stuck in a vacuum / her gossamer" Is there anything more heartbreaking? Or Cardarelli, Gulls : "I do not know where the gulls have their nests, where will find peace. I am like them in perpetual flight. The life like being the cascading water to catch food. And as you may also love the quiet, the great calm of the sea, but my fate is to live flashing in the storm. " So I live: in a storm. With all the mental suffering there in the world, difficult to do otherwise. "(from Egle Santolini, Long live crazy as Dostoevsky," Tuttolibri "," La Stampa ", 26/02 / '11)

Welcome Letter To New Church Members

Italy libraries


L 'Italy of libraries
"We can talk about libraries at the sesquicentennial anniversary of Italy, trying to hold together a historical and an eye toward the future? Difficult to do without reference to the cultural conditions in which they performed the process of national unification. In 1866 Pasquale Villari invited to take note that there was "in the bosom of the nation a more powerful enemy of Austria, our colossal ignorance." Three out of four Italians were illiterate and have to wait for the new century to have a slim majority of citizens able to read and write only in 1901 the percentage of illiterates dropped to 48.5%.
Story reading and story of the "public reading", that organization's national library, are deeply connected and it is clear that in this context, the libraries were made to a marginal role. The Italian company, especially compared to central and northern Europe, will also impact other factors of a cultural history of more distant origin, such as familiarity with the reading of the Bible among Protestants (the Scandinavian countries, Germany, England defeated early illiteracy). This is not the place to remember the Reformation and Counter Reformation have influenced the fate of European culture, but we have to say that Italy has not done much to change the state of things. The weaknesses and difficulties in starting time were added in the disinterest and ignorance of policy makers, unable to build a network of cultural infrastructure that could grow as a unit and harmonically Italy and the Italians.
legacy pre-unification had formed before the breach of Porta Pia, from 210 libraries, of which 164 are open to the public, distributed in 45 cities (excluding Rome). From there, the moves taken the building of the library system new Kingdom. It was during those years which was committed a gross misunderstanding: the local public libraries, usually for the entire local community, in many cases just then born as a result of the confiscation of church property. The decision to outsource these "national assets" to the municipalities served more to ensure that the housing to create a fabric of public services for citizens. It was in fact born of library collections for other purposes and addressed to other recipients, so their usefulness as a function of literacy and the promotion of reading was almost nothing. He called those years the identity of Italian libraries, strongly oriented to conservation. Totally
other than the origin of Anglo-Saxon public library, founded on the system of self-government UK and conceived for the urban proletariat created by the industrial revolution. These establishments are heavily engaged in the field of continuing education, with primary emphasis on preserving the heritage but not the ability to deliver services. At this point their target people's libraries, which began to spread in Italy in the second half of the initiative of philanthropic organizations with a religious or political union, but never reaching deep roots in the community. Without
go further in this historical analysis, we take note of the absolute margin of libraries, all types of libraries, which now amount to more than 16,000 on the card (of which 46 belong to the Ministry of Culture, 6700 to local authorities, university 2500), according to Istat attended only 11% of Italians.
remain very strong territorial imbalances: 40% of the libraries and 50% of the libraries operating in the northern regions and less than 30% in the South and the Islands.
The effects are visible to all: Italy's reading is undergoing profound regional inequalities, by gender, age, socio-economic status.
In 2010 about twenty percentage points separating the South (35% of readers on the population) from the North (54%) and you'd think that you are not talking about the same country: the figure of the northern regions is similar to that of Germany, the United Kingdom or France, while the percentage of the South is roughly the same as Portugal, Malta and Bulgaria.
The characteristics and size of place of residence affect much: those who live in large urban areas read more. This is not surprising, because many are common, even of medium size, no bookstores and libraries, in which a citizen has the opportunity to meet a book about his journey. Sensitive
also the difference between the sexes. The average figure of 46.8% of Italians who last year read at least one book comes from a percentage of 40 among males and 53 among females. Up to 1973 people read more than women, but from that moment on, the effect of higher education, reading has become predominantly female activity, and now in all age groups women read more than men.
The situation should be faced with an enhanced network services. But all Italian libraries are in a deep crisis, exacerbated in recent years from drastic cuts in budgets. Those are all made worse by the state libraries. Consider that the National Roma has a budget of 1.5 million and that of Florence , the largest school librarian in the country, has only 2 million per year, while the Paris has a budget of 254 million, 160 million London, Madrid 52 million. And in 2011 the Ministry of Culture announced cuts of 50%. At this rate, you go straight ahead towards the closing.
To look with confidence to the future should last a national library policy, knowing that you're not just talking about libraries, books and readers, but a vital educational function in contemporary society, with important consequences on the potential for economic growth and social life of the national community. Due to a lack of familiarity with the written word, 70% of Italians can not understand a simple text, fill a form, follow the instructions for the use of an appliance. To backwardness that characterizes our country on the ground that there is now reading on the spread of broadband network and Internet penetration in homes, at the risk of being left with a ball and chain similar to one hundred and fifty years ago was represented illiteracy.
For some time the issue of information literacy to the attention of educators and librarians around the world who are reinterpreting
in this way the function of cultural promotion carried out by libraries, aimed at individual and collective growth of people, ensuring citizenship rights in unasocietà truly inclusive. In this new frontier of literacy we can identify perhaps the main task of the Italian libraries in the information society. "(John Solimine , but Italy does not go to the library," La Stampa "," Tuttolibri, 26/02 / '11)

Italy reading of John Solimine (Laterza )

Wedding Message In English

Alberto Savino, the commedia dell'arte


"Investigations metaphysical Savinio evoke ancient Greece, Renaissance recover elegance, appropriate of baroque splendor. And, together, offer surprising openings in the direction of the contemporary world: even you could see Reports - indirect, accidental - with the world of cartoons. This is a kinship on which historiography has never paused. For a moment, forget the complex underlying cultural iconography saviniana warp. And we look naively the mother-hen or ostrich, the father-giraffe, camel-Aegean, Roger-cock, Psyche-pelican, centaurs, and poltromamma poltrobabbo. There are clear similarities with the heroes that fill the gallery created by the most extraordinary tale of the twentieth century, Walt Disney.
A mere speculation? Let us read an article in La Stampa on 25 July 1934, which recognizes the top Savinio surrealism humanistic in Mickey Mouse. A minor hero, quickly, penetrato «nei costumi del cinematografo, o come dire nei costumi del popolo»: mentre si svolgono sullo schermo, le sue gesta suscitano negli spettatori reazioni di compiacimento. Mickey Mouse non è solo divertissment. Incarna una «forma di surrealismo volgarizzato, un surrealismo alla portata di tutti, un surrealismo per piccole borse», scrive Savinio, anticipando un rilievo di Dalí, il quale, in una lettera a Breton, confesserà non senza enfasi: «Sono venuto a Hollywood e ho incontrato tre grandi surrealisti americani: i fratelli Marx, Cecil B DeMille e Walt Disney». Topolino, secondo Savinio, «risveglia e rende plastico l’animismo degli oggetti», trasformando le «abituali finalità della life ". With confidence, we understand that everything can be herself and others. "Tame the depths of the sea and the sky, the planets approximation, reduces the mysteries not only to human proportions, but childish." Sa beat 'the darkness of generating terror and superstition, "showing that between poetry and caricature is a short step.
Battler, wild, outrageous, elastic, transposition of autobiographical Disney: Mickey Mouse here. Almost a Mercury of modernity, too agile, anarchic, dynamic, tramp, irreducible, protean energy. Savinio makes it a eulogy, using words that might remind one of Walter Benjamin, who, in a short essay del 1931 , enuncia l’estetica di Topolino. Il suo percorso non è una corsa, ma un labirinto tortuoso, «come una pratica burocratica dentro un ufficio». Riesce a infrangere «’intera gerarchia delle creature basata sulla supremazia dell’essere umano», diventando metafora per «ritrarre, smascherare e rendere possibile la critica all’ideologia della borghesia». Vive avventure, prendendosi gioco della civiltà della tecnica e della cultura. In che modo? Ridendo. Mette sottosopra la realtà. L’esito più sorprendente è che «tutte queste meraviglie, senza trucco alcuno e del tutto improvvisate, saltano fuori dal corpo di Topolino, dei suoi compagni e dei suoi persecutori». We are in the middle of a narrative devoid of drama, that "almost rhythmically directs viewers to an entire room." Thanks to Mickey Mouse, we can "get to know the fear."
's position compared to Savinio cartoon is rather ambiguous. Simply focusing on a review of 1947 dedicated to Fantasia. Disney? Excessive. He has no sense of proportion. It is entirely devoid of the "principle of simplicity." His cinema is like "a meal consisting only of sweets saccharinate mean a" mixture of vulgarity, stupidity, stupidity, amorality, "drowned in an" iridescent coloring "which refers to bright metropolis like New York and Los Angeles. It is "the perfectionist most dramatic of our time: its just postcards.
Supported by its Greek, Savinio is wary of the cartoons. But it shows he knows the Disney philosophy. It also captures aspects unexplored: the charge subtly surrealistic. In painting, he makes a very similar to that carried out by Disney during those years. Between 1926 and '27, for example, retrieves photographs faded by time, and zooms: it leads to a source acquired in color, with effect from billboards. Sometimes it takes already-made reproductions, paintings to create collages. High and low contamination: painting and popular press, managing to destabilize the perceptual and communication systems. In this way, goes so far as to anticipate that proceedings will be experienced in the seventies, a pop artist like Roy Lichtenstein, famed for its rewriting of the strips. While far
sensitivity, training, attitudes, culture and intent, Savinio and Disney have in common the need to elaborate fairytale atmosphere. Here's what the author had written a hermaphrodite: "Art brings the memory of the lost paradise in itself but together brings the promise of paradise regained." And here in that way as sophisticated as a director Eisenstein explains the philosophy of the creator Hollywood: "The Poetics of Disney [is] the" Paradise Found. "Just Heaven. That is not done on earth. Materialized only by design. It is the absurdity of the contrast between the conceptions of a child wandering type and the reality of adults, but the comic effect generated by their inconsistency. And what is sad to know that the children for the man, the golden age for humanity, are lost forever [...]. [...] Disney is the complete return to the world of total freedom [...], a world freed from the need. "
Eisenstein says enthusiastically before offering film directed" against the break-up and legal, against the gray and lividity. "Art Disney is wonderful, joyful, "and sought ways to spark shines a blinding purity." It is dedicated to the transformation, the transmutation. "The characters pass each other 'a little' animals, a little 'men. Metaphors plastic "enriched form, primitive [...] interaction of opposites." One way to dig into the strings of the most secret heart. "(From Vincenzo Trione , Mickey Mouse: Surrealism and irony of a Mercury of modern times," Corriere della Sera ", 25/02 / '11)

Alberto Savino, the commedia dell'arte (Palazzo Reale, Milano)

Milan, his amore della maturità ("Corriere della Sera")

Un visionario a Milano ("La Repubblica")

A Palazzo Reale di Milano va in scena il gran teatro dell'arte saviniana (da "Il Sole 24 Ore Domenica")

Coupons For Costco Mattresses

drawings more than words explain


"A due minuti a piedi dai negozi colorati del Canal Saint-Martin, davanti alla Gare de l’Est, c’è un ex convento che il Comune di Parigi ha trasformato in residence per artisti, ricercatori, intellettuali. Manuele Fior vive qui, «grazie alla domanda presentata dal mio editore» spiega. Dal monolocale con soppalco si vede una Parigi alla moda e bohémien al punto right. Romance, like the space on this side of the window. In one corner of the guitar, the Billy bookcase and stereo now plays songs Aperture and Rufus Wainwright, right next to the drawing board. Attached to the wall of the post-drawn at a dinner with friends and photos with his girlfriend of Manuel French Anne-Lise taken the subway in the machines. It is a house full of grace, where Manuel creates comics that have just received the biggest prize in Europe, "Fauve d'Or Angoulême International Festival of .
Five thousand kilometers per second, published in Italy by Coconino Press , is the story of a love that never ends, but neither can to begin again, the story of the feelings of great friends Piero crossed for Lucy and Nicola, from Italy, Norway and Egypt. "A graphic novel where the drawings are as important as the plot - says Fior -. Indeed, the watercolors are often running the show. Every cartoonist has a way of proceeding, I do not ever write the screenplay for the first and then illustrate it. I have an idea of \u200b\u200bthe focal point of the story, but then I will let the boards to impose the rhythm. Some drawings, certain expressions of the characters end up being decisive, say more than many words. The comics are not a graphic novel, like Hugo Pratt said. "
The graphic novel as an art form has been made known to a wider audience by the masterpiece of American Blankets Craig Thompson, thirty-five-like flowers. "Blankets made it clear that the combination of drawings and words could tell a complete story, like a movie or a novel, but in a different way. It is something else than comic serial that are usually gender, crime or science fiction ... The author's comic book can talk about anything, any aspect of reality, even the lives of people. Dylan Dog, Tex, Diabolik are fine, but with comics you can do even more. "
Manuele Fior, a family born in Cesena Friuli, Air Force military pilot father and teacher mother, he started drawing as a child. «Come capita a molti fumettisti è una passione che comincia presto. Disegnando Goldrake, per esempio. Ho sempre desiderato fare questo mestiere, ma naturalmente i miei premevano per un’istruzione tradizionale. Mi sono laureato in architettura a Venezia facendo un soggiorno Erasmus a Berlino, dove mi sono trasferito finita l’università. Da allora in Italia non sono più tornato».
Esiste una «generazione Erasmus»? «Sì, alla fine l’Erasmus cambia - o rovina (dice ridendo) - le vite. Si prende gusto a imparare lingue straniere mai studiate prima, a conoscere persone interessanti. Credo che ormai si sia formata una specie di strato sociale a parte, una comunità di nuovi europei che sono andati a study abroad and have been marked by the experience. In Five thousand kilometers per second also faces the downside, the fact of being a bit 'nomads, without any real membership. A little 'identity is lost, and sometimes it hurts, is the price you pay for freedom. "
After Berlin, where he found a job as an architect, Manuel moved to Norway to be close to his girlfriend at the time. In the story graph Norway Lucia is the place where he moved after the end of love with Peter, which instead goes to Egypt, to Aswan, to make the archaeologist. "We have lived even I - Manuel says - I met a researcher in Berlin who worked there and I asked him to take me with him, I even washed the floors. Instead, I started making drawings of the archaeological excavations. " Five kilometers is roughly the distance between Aswan and Norway and a second is the time it takes - in the telephone conversation between Lucy and Peter - because the voice of one another arrives. "But apart from the places the story is not autobiographical, I prefer fictional characters because they are more free to mistreat them as I please."
After the relationship with the Norwegian girl, Fior chose France because his friend Alessandro Tota's offer to host it for some time and because after Paris (Brussels) is the heart of European comics. «Mi sono sentito subito a casa, un certo calore latino mi mancava. La Francia mi sembra un’Italia che funziona. Vivo qui da tre anni, c’è una comunità di disegnatori italiani piuttosto solida. Dopo la generazione di Lorenzo Mattotti, Tanino Liberatore e Igort, sono passati da Parigi o vivono ancora qui Gipi, che vinse Angoulême nel 2006, Alessandro Tota, Luigi Critone, Francesco Cattani, Piero Macola».
Che differenze ci sono con i fumettisti francesi? «Loro sono dei maestri a livello tecnico, c’è una lunga tradizione e un’editoria molto forte, basta vedere gli scaffali dedicati alle bandes dessinées in ogni libreria. Se vendere cinquemila copie in Italia è un grande successo, in France that figure is usually the starting point, the circulation of a first edition. But, in my opinion, the Italian authors are a bit 'bolder, more original. "
Sitting near the kitchenette, with a glass of red wine from Burgundy, Fior speaks of the music that influences him. "I really like the songs of Federico Fiume, the simplicity of the stories he tells while maintaining a great human warmth, completely outdated. A, Elena, I chose as the epigraph of Five: "Crossing the rails, wagons sitting on empty / I looked on this sail past the station / stop the glass. And your face is the color / ghost of a summer / that You left without rushing down / like a dress ..."».
During this period, but the music is contemporary classical in the former convent, Luigi Nono, György Ligeti, Krzysztof Penderecki. "Ligeti in particular evokes landscapes, just close your eyes and you see his worlds. It is a very visual music, it is no coincidence that Stanley Kubrick used to have the 2001 Space Odyssey . I like to listen to the new cartoon and I think even if I'm off because I can not picture together. "On the table are just sketches of the forthcoming book," a story set in the Italy of 2050. A little 'science fiction of anticipation: a family story as any reaction to the news that an extraterrestrial civilization has tried in vain to contact us. There are no spaceships, are intrigued by the intimate confines of the story. Like Steven Spielberg in Close Encounters of the Third Kind , so that speaks of contact with aliens, however, seen through the eyes of a family that explodes. It is the sense of the sublime: a small stage in front of a huge backdrop. Using science fiction as a camera far away to talk with most of the daily posting. After
yellows, ochres, blues and purple of Five, the new novel will be in black and white, "as the photographs of Cindy Sherman."
Winning the prize means of Angoulême reprint the book and be able to immediately apply the cover band magic that usually does increase sales. What is the next step in the career of a cartoonist? "To publish the new book will take more than a year of work. Then I'd like to do an animated film. We have already discussed some time ago, with Gipi. The Italians might try Paris'. "(By Stefano Montefiori, designs explain more than words," Corriere della Sera ", 21/02 / '11)

Interview with Manuele Fior: every story, every design must have its heart ("Il Sole 24 Ore")

Oversized Beanie Knitting Pattern

Dies Irae


"The apocalypse twenty-first century is cold, wet, windy. Human figures, in the empty void of a horizon too hazy, try not seem to want more or anything. Perhaps the 'Hell is just that: a place where everything has already happened, beyond repair. Paolo Pellegrin is silent when browsing the 'album of his last ten years as a photographer: the Italian photographer perhaps more appreciated today in the world. Is not convinced of these impressions: "There are men, women, everything is not over yet as long as there are men and women." He has just returned from Egypt, where he photographed the revolt for Newsweek, and perhaps this is what makes him more optimistic today, "a wonderful thing, huge, I hope it is a beginning, now I want to go to Iran and in all places where it can tell the purpose of regimes and the beginning of redemption. " If those guys in Cairo began a new story, maybe he was right to throw him out right now Pellegrin's first recapitulation of the world has seen and showed in the last ten years, which are also the top ten of a millennium. Perhaps it is released, so the weight of a ruthless decade, the decade of the fire from heaven. "It is not an 'anthology of things done, I looked for a thread."
is not a portfolio is indeed a world view. He would not even put the captions, the division into chapters. Dies Irae , the title it to him suggerito Roberto Koch, fotografo ed editore di Contrasto , e lui l'ha accettato dopo un'esitazione. Perché Paolo Pellegrin si sente, è un umanista, e il solvet saeculum in favilla del pianeta non gliè piaciuto proprio raccontarlo così; ma è anche un fotografo, e sa che era suo dovere farlo. Romano, quarantasei anni, figlio di architetti, padre da poco più di un anno, asceso all'olimpo dell'agenzia Magnum nel 2001 dopo una lunga esperienza con i francesi di Vu. Era l'anno delle Torri Gemelle, e da allora è partito all' inseguimento di tutti i frammenti di Armageddon, di tutti gli acconti di apocalisse offerti dalla cronaca alla storia: Iran, Katrina, Libano, Tsunami, Gaza, Haiti, Cambogia, Kosovo ... Had been born a generation or two earlier, Pellegrin was a "war photographer" as Capa, as Griffiths, as Burrows, as McCullin. No longer existed, because there are no more wars. Those who still call it inertia, rather than disasters are local entropy of a state of global politics. Natural or man-made, it is even difficult to distinguish a catastrophe on the other, when you get inside, so the scenery is always the same: cold desert, despair, dust, bodies, mud, human beings who were the first victims and are even more later. Very few of the regular uniform in these pictures. Even where you fight with bullets, "the front there, the first line there 'is, space is chaotic, the danger is everywhere and nowhere. " It's a missile that explodes a few meters from photographers face as the scene of a bomb: this also happened to him, in Tyre, South Lebanon: he escaped, went back, took pictures, so what's the point I run far, far away where, from what? "I came back not knowing what to do, just because I did not accept to run away without giving a sense."
Pellegrin is a photographer of the era of uncertainty. The self-confidence that had Concerned photography of the last century is gone. Pellegrin photographed not straight, direct, geometric as CartierBresson. Do not go looking for the lost beauty as Salgado running in the opposite direction to its back to the Scriptures Genesis. He learned something about the way to tell from his masters, the Koudelka of Chaos the of Peress Telex Iran : his shots off balance, shaking as if under the impact of a grenade, the fire is out of focus The horizon bends, the photographer takes pictures of his own limitations, its inability to understand everything, 'the only thing you control is your willingness to get in the game, "a witness agrees to be weak, a collector of finds in the rubble of the events, which offers readers as he found them, collected, retained in some form, as well as dimly understood them, asking them to help understand more. But it does not sink into the abyss as the commandant of Kurtz Heart of Darkness, does not give to horror, it becomes a "friend of horror." Pellegrin of law and loves the McCarthy Road , apocalyptic novel, but illuminated by a flash of hope in their last lines. "There is always somewhere a desire to survive, a desire for redemption. The cornerstone to which m 'support is to tell people. Wherever it went, I met often simultaneously face the worst and best of men face. " In particular, in the face of women. Who do not fight, but is a field of combat, as their bodies, their gestures, their tears to show 'goal. Supported by other women, or too much sun in the streets deserted, surrounded by empty, look at that empty space, as new and still fearing the worst disasters: Quantus tremor est futurus ... It is the endless "day of wrath," Judgement of the damned crowded but without ultimate judge. Capa, weary of explosions, dreamed of being a "war photographer unemployed." Pellegrin has closed a long Dies Irae ten years between two covers, perhaps dreaming of becoming a Thomas of Celano unemployed. Tahrir Square in hopes of having found the opening words of another, different book. "(from Michael Smargiassi, Ten years Apocalypse," La Repubblica ", 20/02 / '11)

Retaining Walls.australia

If luck is our


" Sometimes one wonders if there is still no literature wants to run easy, he feels the responsibility and power of each word drawn on the page: a literature that has to come to the heart of life, and if that fails does not risk the failure of art, but the bane of existence. Aurelio Pike has written an important book, a thousand miles away from what we read today, a diary-novel that mixes bare hands present and past, shards of glass and blue skies, sharp fragments of time and moments of forgetfulness. If Luckily our (Rizzoli ) has the front door close, does not invite pander to enter into a "good story". Rather bumps, scrapes, kicks, it almost seems to tell the reader: "This is my home, here you do as I say, do not expect to walk in some pleasant scenery, including personaggetti melodious." The origin of the book there is the promise made by the writer's grandfather telling his story, the story of an entire family, since the great-great grandfather lived Archangel of Stone Hill's house, and killed and all for love lost, until all 'children of the small Aurelietto, look and learn that the strength and pain of life. We are almost deserted on a line, one that leads Verga more furious by the visionary melancholy of Federigo Tozzi, those in the Italian countryside where the land is the blood and dream. It 'an archaic world, fiercely cheerful, cheerfully ferocious, which proceeds between failures and great love, hugs and goodbyes and drinking and huge harvests, a rural world that slowly enters the modern risk paying the high price of forgetfulness bury and erase everything. Aurelio for this peak is sacred and pagan ceremonies of a threshing floor where the living and the dead are still together on the evening of the Great Banquet. Each pierced resurfaces in the present with its history, offers any dead roots to the ephemeral flowers of today. The father is the hub of this wheel melancholy, that he died too young, when Aurelio Pike had not yet two years. But the family remained intact, patriarchy established by his grandfather ruled the blows of fate, and the child grew into adoration almost sacred by the blood of his race, people are rude, proud, tightly linked to the traditions of the countryside, to its history . All the book fights between the bell and the hoe, to rap, beats time of baptisms and marriages, communions and funerals. There is an emphasis declared un'epicità that lifts the newspaper and brings it to the heavens of Necessity, a solemnity that shakes every time. If luck is our is the novel of an Italy that no longer exists and yet still remember, a terrible and noble an Italy in which everything is affected in stone of family memories, and shame are not even washed a hundred years, and love becomes a feast for all. Tearing the memories from the body, Pike wanted to celebrate our past with a voice cry, emotional, unforgettable. "(From Mark Lodoli A family of fun and ferocity archaic," La Repubblica ", 21/02 / '11)

Honey Vs Lucy Wrestling

Prater Violet


"In 1933, what was then called, with metaphor moviegoer, the Berlin-Vienna train was bringing Hollywood to the capital of American cinema, dall'incalzante fleeing Nazism, people like Billy Wilder (who in this case, made a stop in Paris) and as Fritz Lang, who from day to day, in front of Goebbels' invitation to become the head of the Ufa film, packed his bags and left. In London, but stops, leaving a wife and a daughter, Vienna, Friedrich Bergmann, a great Austrian director invited fictional invention, to shoot in a London studio insipid love story between a prince in disguise and a flower named Prater Violet . What is the title of the novel "on the" film that Christopher Isherwood wrote and published in 1945 in memory of the tragic 1933 when the world began to fall into the abyss of World War II. But Christopher Isherwood is Christopher Isherwood, a triumph of lightness, master dell'allusione, a fake reporter to real as possible (in the case of this story is almost true, and actually lived) in which he, the narrator, a mo 'of Nick Carraway in The Great Gatsby, comes only in profile, with the grace of a boy of good family, good education and good feelings, that does not interfere in what he sees happening under his nose. The same style, human and literary, which had used the stories to which it owes its fame, those Goodbye to Berlin, where, again, Isherwood is the witness, the voyeur, the observer, the friend called to resolve worries and troubles of mind also dramatic. But never center stage, leaving, in the stories of Berlin, the great deceiver and small spy Mr. Norris and the now legendary Sally Bowles destined to great popularity, forty years later, with Cabaret. Giorgio Manganelli
As noted in his afterword period, Isherwood is "a connoisseur of fatuity, sottise an expert, a connoisseur of gossip." But at the same time is "fascinated by the tragedy." So Prater Violet (Adelphi) begins as a commentary on frivolous working on a movie that nobody wants to do (those who feel the need of yet another musical about a poor girl, a prince in disguise and then exile and the triumph of Central Europe?) to fall sharply, even with all the softness of Isherwood, in the tragedy of Nazism. Here, then, that the young Isherwood, less than thirty years old but already an expert on German things, just back from Berlin will be convened with urgency typical of this film by factotum Chatsworth, producer, who dreams of achieving a Tosca played by Garbo and written by Somerset Maugham, and instead it only for hands Prater Violet, the still inexperienced as a writer and Isherwood Bergmann, the great director more or less in exile, working of course obtorto neck. Between what is described as "the Socrates jew" with a face like a Roman emperor and the young apprentice writer bursts the sympathy, which allows them to carry on this insane project. And as (I quote Manganelli) 'in a distant, apparently, cruel reality atrocious events occur: Nazi Germany celebrates the process for the' burning of the Reichstag, in Austria the civil war destroyed the workers' militias: the gun, hangs himself ... is coming to a horrible war, "on the outskirts of London we are fiddling in the shadows of the cinema. And, for once abandoning his traditional ironic aplomb, Isherwood, about love, his love, his love of the moment, which is hidden under the letter J. And that, in the book, curiously has no gender - even if we know that the preferences of Isherwood, as his bosom friend and fellow American exile WH Auden, were homosexual. There is a sudden gap, a change in tone from light to play in these last few pages of a book done, apparently, of nothing, but which is in line with all its frivolity and their accuracy in the picture, the environment, to heavyweights in the world of cinema as The Last Tycoon, The disenchanted , The Day of the Locust. "The movie businesses of today are nothing more than a palace of the sixteenth century. One sees what Shakespeare saw: the absolute power of the tyrant, the courtiers, the flatterers, the jesters, the insidious scheming, ambitious ... There is the craziest dissipation and more narrow-minded on matters of economics a little money ... Ci sono segreti che tutti conoscono e di cui nessuno parla...». Non basta? Lieve, ma vero. Per i curiosi: Bergmann si chiamava nella realtà Berthold Viertel, il film Little Friend , la casa produttrice era la British Gaumont. E l'androgino amore tale Heinz." (da Irene Bignardi, Film e tragedie, la dolce leggerezza di Isherwood , "La Repubblica", 19/02/'11)

Zumex Juicer Craigslist

BASIC COOKING (sixth class)

people! Here I am! .. but .. let me know how you too Colores not see my updates? .. I have a blog that does not work ???!!! GIVE ME A SIGNAL THANKS!

in the meantime ... here's the report of the Sixth lesson: THE YARD!

pollo in umido..buonissimooo!

faraona ripiena....

 

le donne cuciono...

gli uomini legano!!

fiorellini di polenta pronti da gratinare

Serve the chicken, with flowers!

around nine, Daniel gives us a brek ... and check it out as we cuddle!

mini muffins or mini souffle salmon ... ... GNAMMMM!!

say no ... and the salad with ?!!.. pereeeee!!

but continue:

rabbit jugged

turkey meatloaf ...

guinea fowl with creamy sauce than before ... "bouillon"

and gentlemen here, I close with this beauty for the eyes and the palate:

panna cotta with orange marmalade loving !!!!!

... here are the scapottata Goduria cooking!!

Encouragement Buzz Words

we order!

serves me your opinion ...

my blogghino miscellaneus is definitely a lot of things .. the rest fairly reflects what is in my stubborn ... A CASINO! : D

so I'm thinking that maybe we should make some order ... (I do not know how long, I warn you ... the order and organization are rarely part of my life!)

also with the next week, will end my cooking class, and will close on time reportage of the post ...

'm thinking to better organize what result, and given the feedback that had the theme of the baseboards, etc., I would like to arrange
on these topics:

"live"

(interiors etc.)

"SAL yards"
(tales of a woman in the yard)

but I know I could never limit myself to this ... well , where I throw all the beautiful things I see around? my trips? the stupid things that come to mind?? events extraordinary ??... I can not definitely give up the category:

"scoasse"
(ie: junk, in my dialect!)

unfortunately lately I find little time to create with her hands .. so for now I will have no material to be published in this regard .. but in the case, I'll throw in "scoasse"!


then, what do you think, think can solve that overwhelms you dizzy entering in my blog?!
: D

also launch a nice sondaggino, found next door, so you can vote as a class may interest you more!


and then come on! Tonight that the course I do "all over the yard ...
in the sense that the theme is the white meat!

4 Oz Pyramid Sinker Mold

parapluie rouge

Outside it rains today ...

fact often it snows in some places ...

who comes with me to make two passes under the umbrella?

I discovered that I really like red umbrellas ...

and these pictures inspire me a lot ...

sooo romantic theme in "rouge" ...

mumble mumble ...

...

:)

good evening!

Mario Salieri Online Movies

BASIC COOKING (fifth lecture)

I'm back with my guide on cooking class!

this is the fifth lesson, with the theme "The Flesh" ...

start with the basics .. how to tie a package of sugar! .. Oops! I mean the roast!

delicious pork curry with rice pilaf!

hemmm .. WERE rolls of veal with cream ...

roasted artichokes with sauce ...

and the usual trick to close!

fruit tart with custard!!

good evening!