An important and unique work of its kind has been available in all online bookshops for a few days, also considering the international scenario: On both sides of the Iron Curtain. The culture of dissent and the definition of European identity in the second half of the twentieth century (1956-1991). It is a veritable atlas of dissent as regards the areas taken into consideration: the Italian and French areas in the West, and the eastern Slav area of the ex-Soviet Union (Russia, Belarus, Ukraine).
The study was conducted by a team of scholars, mostly female, coordinated by Teresa Spignoli, associate professor of modern and contemporary Italian literature at the University of Florence and Claudia Pieralli, senior researcher of Slavistics (Russian literature) at the same university.
The team of authors is also made up of Federico Iocca, Giuseppina Larocca and Giovanna Lo Monaco. Also interesting is the website created by this team of scholars: The cultures of dissent, which can be reached here.
The research develops the analysis of the various forms of dissent along three guidelines, which are also the three parts into which the substantial book (pp. 474) is divided, the geographical one, that of the diffusion channels and that of reception. Let's see in more detail the contents of these three parts.
The first part, "The geography of dissent" surveys the groups and movements of literary dissent, the publishing activity, initiatives and events in the two geographical areas.
The second, "The channels of dissent" develops the analysis of the diffusion media of movements of literary and cultural protest. Among these, in the West, exo-publishing (mimeographed magazines, underground publishing houses, cultural centres, events) and, in the Soviet area, the forms of self-publishing and clandestine diffusion typical of Samizdat, Tamizdat, and Magnitizdat. Finally, non-institutional meeting places for the diffusion of alternative and anti-establishment culture are considered.
The third part, "The reception of dissent" is dedicated to reflection on the forms and contents of Soviet dissent and its impact on the Italian and French cultural environment.
One of the highest moments in the relationship of the West with the culture of Soviet dissent takes place in our country thanks to a visionary publisher, Giangiacomo Feltrinelli. It was Feltrinelli's publishing house, in 1957, that gave birth to a work like Doctor Zhivago by Boris Pasternak, of which the publisher immediately sensed the value, not only political, but also literary. The following year Pasternak, virtually unknown in the West, won the Nobel Prize for Literature, launching the Feltrinelli publishing house into orbit. Pasternak will be forced to give up the high honor under pressure from Nikita Khrushchev himself. It is one of the most sensational cases of Italian publishing and not only of this one.
In the aforementioned volume on dissent Giuseppina Larocca and Alessandra Reccia dedicate two contributions to the case of Doctor Zhivago. We offer them in full to our readers, below.
Giovanna Lo Monaco's contribution on the Feltrinelli publishing house is also interesting. Feltrinelli was one of the most active publishing houses in bringing readers studies and authors of the counterculture and protest in the West. Feltrinelli also published much of the Soviet dissent during the XNUMXs and XNUMXs. Lo Monaco's contribution gives an account of this in detail. Enjoy the reading!
The editorial case of Doctor Zhivago
by Giuseppina Larocca
AUTHOR: Boris Leonidovich Pasternak
YEARS OF DRAWING: July 1946 — December 1955
YEAR OF FIRST PUBLICATION: 1957 (translation by Pietro Zveteremich)
PUBLISHING HOUSE: Giangiacomo Feltrinelli PUBLISHING PLACE: Milan
FIRST EDITION IN RUSSIAN LANGUAGE: Doktor Živago, Mouton, Brussels 1958
Written between July 1946 and December 1955, Doktor Živago was composed in the years in which Pasternak had been excluded from official literary circles. Initially conceived with the title of Boys and Girls, with the aim of documenting the four decades ranging from 1902 to 1946 in ten chapters, the novel was the result of a profound crisis caused by the war and the disappointment of Russia's hopes of renewal ( cf. letter from Boris Pasternak to his cousin Olga Frejdenberg dated 5 October 1946, Pasternak 1987: 343).
The editorial events that led to the first edition of the text were truly tumultuous. In the winter of 1955–1956, a definitive typewritten copy of the novel was delivered to Znamja, who had previously published the poems inserted in Doktor Živago, and to Novyj Mir with whom Pasternak had signed a contract in 1947, which was later cancelled. At the same time, a series of fortuitous circumstances occurred which favored the publication of the novel in Tamizdat.
In March 1956 Sergio D'Angelo arrived in the Soviet Union, a young journalist sent by the Italian Communist Party and commissioned by Giangiacomo Feltrinelli to find literary works that could arouse the interest of the Western public. D'Angelo learned about the conclusion of Pasternak's novel through foreign radio stations and, having rushed to the writer's house in Peredelkino, asked him for permission to publish the novel in Italy. After an initial moment of hesitation, Pasternak accepted.
Once the writer's intentions were known, the Soviet authorities expressed their disappointment and in September 1956, in a general context of agitation and liberal pressure, rejected the publication of the novel at home: Novyj Mir, directed by Konstantin Simonov, returned the manuscript to his author, together with a letter providing an analysis of the novel and the reasons for the refusal (Znamja also agreed). The refusal convinced Pasternak of the need and importance of having the manuscript printed abroad, an operation which, despite the initial difficulties, was started upon D'Angelo's return to Italy.
On June 13, 1956, the manuscript was delivered to Pietro Zveteremich, who prepared an enthusiastic internal review for Feltrinelli. At the end of June, Pasternak signed the translation contract entrusted to Zveteremich (at the suggestion of Lo Gatto, Pasternak later proposed Angelo Maria Ripellino).
The plots of the edition thickened and the situation became more and more complicated in the coming months. Il'ja Ėrenburg had informed Feltrinelli of Novyj Mir's refusal, the pressure from the Soviet authorities became increasingly strong and Pasternak, persuaded by D'Angelo at the explicit request of his partner Olga Ivinskaja, sent a telegram to Feltrinelli asking the return of the specimen, in need of "major improvements". As D'Angelo and Pasternak themselves suspected, the Milanese publisher did not follow up on the message or even on subsequent pressure from the PCI through Mario Alicata. At the same time the Polish publisher Opinie also showed interest in the novel who, however, was unable to print the manuscript; the French Gallimard and the English Collins had also moved in vain to acquire the translation rights.
After a series of events involving Vittorio Strada, Aleksej Surkov (secretary of the Union of Soviet Writers), Feltrinelli himself and Zveteremich as protagonists, the novel was published for the first time in Italy and in Italian on 15 November 1957 with a circulation of 3.000 copies (in the same year it went through at least nine reprints). The work was preceded by an introduction by the publisher in which the events of the publication were summarized. The Italian edition was presented on 22 November 1957 at the Continental hotel in Milan.
Following the edition of the manuscript in Italy, many Western publishing houses aroused interest in publishing the novel in Russian, among the first the French publisher de Proyart, to whom Pasternak had delivered a new corrected version (the episode was a cause of friction between the French publishing house and Feltrinelli), and the Dutch Mouton, who finally managed to win without Feltrinelli's knowledge and to fire the novel in September 1958, when it was distributed to Russian-speaking visitors at the Vatican pavilion of the Universal Exhibition in Brussels .
By now confirmed as a worldwide success and among the most important literary cases of the XNUMXth century, Doctor Živago did not finish emanating its strength and had its author awarded the Nobel Prize for Literature, an award that Pasternak refused, ordered by the then secretary Nikita Chruščëv .
REFERENCES
Alicata, M., On the Pasternak case, Editori Riuniti, Rome 1958.
D'Angelo, S., The Pasternak case. History of the persecution of a genius, Bietti, Milan 2006.
Fleishman, L., “Zhivago and the poet”, in Fleishman, L. (ed.), Boris Pasternak, translated by M. Graziosi, Il Mulino, Bologna 1993: 329–362.
Fleishman, L., “Lo scandalo del Nobel”, in Fleishman, L. (ed.), Boris Pasternak, translated by M. Graziosi, Il Mulino, Bologna 1993: 363–397.
Fleishman, L., “Vstreča russkoj ėmigracii s 'Doktorm Živago': Boris Pasternak i 'cholodnaja vojna'”, Stanford Slavic Studies, 38, 2009.
Mancosu, P., Živago in the storm. The editorial adventures of Pasternak's masterpiece, Italian translation by F. Peri, Feltrinelli, Milan 2015.
Pasternak, B., The barriers of the soul. Correspondence with Olga Frejdenberg (1910–1954), edited by LV Nadai, Garzanti, Milan 1987.
Garzonio, S., "Pietro Zveteremich and the publication of 'Doctor Živago'", in Parysievicz Lanzafame, A. (ed.), Pietro A. Zveteriemich, the man, the Slavist, the intellectual, University of Messina , Messina 2009: 73–86.
Garzonio, S. — Rečča, A. (eds.), “Doktor Živago”: Pasternak. 1958. Italy, Reka vremen, Moscow 2012.
The political and literary case of Doctor Zhivago
by Alessandra Reccia
In November 1957 Giangiacomo Feltrinelli published the world premiere of Boris Pasternak's novel Doctor Zhivago: the first best seller of the then nascent Italian publishing industry. Sergio D'Angelo, an Italian journalist of Radio Mosca and talent scout, hired by Feltrinelli, had brought the manuscript of the novel to Italy in 1957, which in the meantime was awaiting a regular Soviet edition. However, publication in the USSR was blocked by censorship for political reasons, but the Milanese publisher, then a member of the PCI, nevertheless decided to send the book to press, unleashing the wrath of the Soviet and Italian communists. Khrushchev himself decided to intervene, inviting Togliatti to order its publication. The result was Feltrinelli's exit from the PCI and an unprecedented editorial scoop. In about two months, 30 editions of the book were printed.
The economic revolution linked to copyright was enormous. The book, in fact, was translated into many foreign languages and a film was made which was a great success with the public. Reviews and discussions in magazines and newspapers then contributed to making it a media case. But, behind the stereotyped images and Cold War tones, there was a deeper discourse that concerned the fate of the Soviet Union, whose history influenced, albeit indirectly, Italian political and cultural life. For this reason, between censorship, persecutions, editorial espionage stories, smuggled editions and translations, the novel, in addition to producing a huge turnover, was the basis of a heated, and not at all schematic, political and ideological discussion.
In Italy one of the most debated issues was the Živago-Revolution relationship. The editors of Novyj Mir, by censoring the publication, had already accused the author of anti-Sovietism, due to the "counter-revolutionary" content of the novel. Mario Alicata, who presided over the Cultural Commission of the PCI, supporting the Soviet choices, judged the novel "inappropriate", because in the aftermath of the XX Congress this book was "purely political and, due to its tone and accent, openly counter-revolutionary" (Alicata 1958: 4) would have supported «the political and ideological offensive» carried out in the capitalist world, «to transform the self-criticism of certain errors made by the 7th century into an attack against the socialist revolution and socialism as a system» (ivi: XNUMX). On the contrary Gianni Toti, journalist and trade unionist of the CGIL, en route with the party following the Soviet invasion of Budapest, advised all communist workers to read it.
It is clear, therefore, that the "Pasternak case" contributed to exacerbate the rifts caused within the left after the events of 1956. The readings of Carlo Muscetta, Italo Calvino and Cesare Cases, in those years, also fall within this horizon three "Einaudian" communists, who will leave their respective cards of the PCI between 1956 and 1959, precisely in relation to the events in Hungary. For different reasons, they criticized the novel from an aesthetic point of view as an all in all incomplete work, poised between the great nineteenth-century narratives and the dissolution of the twentieth-century European novel. However, they did not deny the value of the work and the critical significance it assumed for Marxist ideology and aesthetics, precisely starting from the reading that was given in it of revolutionary events and developments.
Alberto Moravia, on the other hand, identified the "unbalanced" relationship between man and history as the central element of the plot, concluding that the novel told of bent lives, overwhelmed by a superior and hostile force. More articulated, Franco Fortini's reading took into account the complexity of the problem facing Soviet society, which had the difficult task of evaluating the meaning and importance of the revolutionary experience in the aftermath of the collective awareness of the crimes of Stalin. Pasternak showed the socialist reader a way out of the impasse. The legitimate doubt about communism, given the oppressive reality of Soviet society, was addressed by re-reading revolutionary history in the light of the present.
In liberal circles, on the other hand, the discourse mostly concerned two questions: the first concerned the debate of Marxists on the work, whose practice of masking political and ideological discourses behind aesthetic reasons was criticized; the second concerned the anti-Soviet function of the book. Lionel Abel went so far as to declare that he did not appreciate the novel very much, but that he nevertheless found it indispensable for the anti-Soviet significance it held. For Father Floris of Civiltà Cattolica, the anti-communism of the work was directly connected to Pasternak's spiritual message.
The reading of Nicola Chiaromonte, an anti-fascist exile in the United States and anti-communist intellectual, was more interesting and articulated. philological and literary. Among the latter, intellectuals such as Tommaso Landolfi, Guido Piovene and Pietro Citati should be mentioned, who attempted to separate the aesthetic discourse from the ideological one.
Like other literary cases concerning Russian-Soviet works, Pasternak's is characterized, in the scenario of the nascent cultural industry, for being intimately connected to the historical and political-cultural events of Italy.
REFERENCES
Alicata, M. On the Pasternak case: an article by M. Alicata; a letter from Novy Mir, Editori Riuniti, Rome 1958.
Calvino, I., “Pasternak and the revolution”, Past and present, May-June 1958: 360–367.
Cases, C., “Doctor Zhivago debate”, The bridge, 6, 1958:850–854.
Chiaromonte, N., "The "Doctor Živago" and modern sensibility", in Chiaromonte, N., Believe not believe, Rizzoli, Milan 1971: 163–183.
Floridi, UA, “A Resurrection Message from Christian Russia,” Catholic Civilization, Jan. 18, 1958: 180–187.
Fortini, F., "Rereading Pasternak", in Fortini, F., Verification of Powers. Writings of criticism and of literary institutions, Il Saggiatore, Milan 1965: 287-309.
Landolfi, T., “Pasternak's novel”, in Maccari, G. (ed.), The Russians, Adelphi, Milan 2015: 276–279.
Moravia, A., “Visit to Pasternak”, Corriere della Sera, January 11, 1958.
Muscetta C, "The heirs of Protopov", in Muscetta, C., The heirs of Protopov. Dissent, consensus, indignation, Lerici, Rome 1977.
Pasternak, B. Doctor Zhivago, Italian translation by Pietro Zveteremich, Feltrinelli, Milan 1957.
The Feltrinelli publishing house and the culture of dissent
by Giovanna Lo Monaco
The publishing house, founded in Milan by Giangiacomo Feltrinelli in 1954, stands out for the specificity of the editorial program, developed by Feltrinelli himself and characterized by a strong political commitment inspired by the values of anti-fascism and communist ideals, as well as by the objective of contributing to the cultural formation of the readers.
Initially close to the PCI, Feltrinelli progressively departed from the cultural "directives" of the party and especially after the publication of Il Dr. Zhivago by the Russian writer Boris Pasternak in 1957, within the "Narrative" series. That of the Dr. Zhivago becomes an editorial case of international importance which - together with the success of The Leopard, published in the same year and in the same series — allows Feltrinelli to quickly become one of the most recognized publishing houses in Italy and abroad.
Feltrinelli publishes the novel in world preview and directly in Italian translation, well before the edition in the original language, hindered by Moscow due to the non-compliance of the book with the dictates of socialist realism, perceived as an affront to the ideology of the regime (cf. Mancosu 2015). The editorial events of the book, at times similar to those of a spy story, reveal the profound interference of the politics of those years - in this case exercised by the USSR directly or indirectly through the PCI - on cultural initiatives. In this scenario, the battle for the publication of Pasternak's novel coincides for Feltrinelli with an open protest in favor of freedom of expression and with a claim for the autonomy of culture from politics.
Feltrinelli also publishes other relevant works by Russian authors often unknown to the Italian public, including In his city by Viktor Nekrasov in 1955, which constitutes a turning point in Soviet literature towards Western styles; in 1958, under the title Sunset, collects the literary, theatrical and cinematographic works of Isaak Babel ', journalist and collaborator of Ėjzenštejn, shot for espionage under Stalin's dictatorship; in 1961 he published A span of land by Grigory Baklanov who had had a controversial publishing history at home for ideological reasons. Another important Russian writer introduced in Italy by Feltrinelli is Evgenij Evtušenko, of whom it is published The station Zima and other verses in 1962, the first of a series of titles by the same author published by Feltrinelli.
The choice of the publisher generally falls on writers in open dissent with the regime or on others who, while remaining within the Soviet institutional framework, demonstrate that they are not perfectly aligned with the rigid cultural policy imposed by it, victims too, in forms and different measures, censorship and party pressure, as in the case of Yevtushenko. The selection of literary works seems generally oriented towards promoting a critical perspective on the politics of the Soviet Union and is combined in this sense with the publication of some essays in the "Current News" series - see in particular the Political writings by the Hungarian leader Imre Nagy published in 1958 - in which the settlement of the USSR after Stalin is discussed and space is made for an overall rethinking of the socialist tradition.
Since the beginning of its activity, the publishing house has been concerned with making international contemporary literature known to the Italian public, in particular through the series "Narrative" and "Le Comete", both directed by Valerio Riva, and since 1960 with "I Narratori ”. The foreign titles are selected, on the one hand, according to commercial strategies, on the other, with the aim of fueling the climate of renewal and de-provincialization that pervaded the country during the XNUMXs and XNUMXs, by putting forward an innovative cultural proposal. Among these are the works attributable to the area of Nonew novel french, like Portrait of an unknown. Tropisms. Conversation and sub conversation by Nathalie Sarraute (1959), author who with Feltrinelli will also publish other titles, and Invitation to Lunch by Claude Mauriac in 1961, but also the texts by the German authors of Group 47, published above all thanks to the initiative of Enrico Filippini.
Filippini deals in particular with the translation and edition of fundamental texts such as The tin drum by Günter Grass (1962) e The conjectures about Jacob by Uwe Johnson (1961); in 1962 he oversaw, as editor, the publication of an anthology of contemporary German authors entitled The dissent, edited by Hans Bender, which arouses quite a few controversies. Through the publication of these texts, the model of the experimental novel is "imported", completely distant from the narrative that we would generically call of a "traditional" type promoted up to that moment by the publishing house, in consonance with the cultural dominant of the time.
In Italy the main promoters of the experimental novel, called "anti-novel", are the authors of Group 63, whose texts find particular acceptance in the "Le Comete" series, alongside the corresponding foreign anti-novels: among the titles present in the series, published between 1963 and 1965, remember Italian caprice by Edoardo Sanguineti, How to act by Nanni Balestrini, La narcissistic and the counter hour by Alberto Arbasino The porthole by Adriano Spatula and Il parafossil by Giorgio Celli, but also the anthologies The Palermo school, edited by Alfredo Giuliani, which collects texts by Michele Perriera, Roberto Di Marco and Gaetano Testa, and, above all, the first anthology of Gruppo 63, which collects the texts of the authors who took part in the founding conference of the Group (Group 63. The new literature, edited by N. Balestrini and A. Giuliani).
Other relevant texts of the Neo-avant-garde such as Brothers of Italy of Arbasino, The game of the octo di Sanguineti e Tristan by Balestrini are included in various series, including “I Narratori”; the series of non-fiction "Materials" will instead host - almost exclusively - the theoretical and critical writings of the Group, including Avant-garde and experimentalism by Angelo Guglielmi (1964), Certain novels by Arbasino (1964), Ideology and language by Sanguineti (1965) and Order and disorder by Fausto Curi (1965), as well as the proceedings of the conference on the experimental novel organized by Gruppo 63 in 1965 (The experimental novel. Palermo 1965, edited by N. Balestrini). Even the series "Poetry" hosts various collections of authors of the Neo-avant-garde such as Triperuno by Sanguineti (1964), I relationships of Door (1966), Physics lesson and Fecaloro by Pagliarani (1967) and Poor Juliet and other poems by Giuliani (1965).
With his editorial support, Feltrinelli presents himself as the main promoter of the new avant-garde literature and of the cultural revolution advocated by Group 63. The publisher had already shown interest in experimental literary forms with the publication of The little holidays (1957) and The anonymous Lombard (1959) by Arbasino; a decisive turning point occurs when in 1962 Feltrinelli becomes the publisher of The Verri, the magazine directed by Luciano Anceschi which constitutes the first meeting place for the members of the future Neo-avant-garde, and welcomes Balestrini among its collaborators, while Giorgio Bassani, one of the major opponents of the Group, who until then had dealt with the Roman editorial staff and of fiction publications, leaves the publishing house (Cesana 2010: 341–353).
The very idea of founding Gruppo 63 was born in the Milanese offices of Feltrinelli by Valerio Riva, who will mainly be concerned with editorial promotion, by Filippini, who was the first to propose the formation of a group similar to Gruppo 47 (cf. Fuchs 2017 : 47–82), and of Balestrini, who will be the main organizer of the collective works. One of the Group's "operational centres" will instead be the Roman bookshop of Feltrinelli in via del Babuino.
Between 1967 and 1969 Feltrinelli contributed, together with other publishers, to the sponsorship and financing of the magazine Fifteen, conceived by Group 63 in an attempt to link its cultural battle to youth movements. The support to Fifteen represents the last significant episode in the marriage between the publishing house and the men of letters of the Group, which weakened after the departure of Riva and Filippini - in conjunction with Feltrinelli's radical political change towards the end of the 1972s - and can be considered concluded when in XNUMX, after Giangiacomo's death, Balestrini also left Feltrinelli.
Despite the resistance against American beat literature by the great Italian publishers of the period, underlined several times by Fernanda Pivano also with reference to Feltrinelli, the publishing house showed interest in the phenomenon in some way. In 1960 he had already appeared in the "Comets" The undergrounds by Jack Kerouac, one of the first works of the beat generation published in Italy, with a preface by Fernanda Pivano; in 1964 Feltrinelli published in the same series the first successful anthology in Italy of the poetry of the beat generation, Poetry of the last Americans, edited by Pivano herself.
It is above all from the mid-sixties, however, that Feltrinelli's intention to approach the beat movement - which was developing as a social and political movement precisely in that period - became more evident with the choice of accepting volumes of beat poetry and prose Italian within the “Edizioni di Libreria” series. Of the beat literature titles planned for publication by Fernanda Pivano, in charge of the curatorship, however, they are only printed Bad teeth and homeland by Antonio Infantino and theAnthology of Beatnik's clan of Monza, while, among others, the texts of some of the protagonists of the movement such as Carlo Silvestro, Gianni Milano, Renzo Angolani and Poppi Ranchetti remain unpublished.
In 1966 Feltrinelli entrusted Fernanda Pivano with the task of preparing the Single protest number for young people, another text that will not be published and which should have contained the programs of the various groups of the movement, an anthology of poems and prose beats, and The flower necklace, a collage with data and newspaper clippings on the movement's clashes with the police (cf. Pivano 1976: 88–89; Echaurren -Salaris 1999: 65–66). The major publisher's most significant support for the youth movement is probably represented by the publication of the latest issue of Beat world, as a sign of solidarity with the Milanese beat movement after the harsh repression by the police, for which Feltrinelli wrote an intervention in his own hand, under the pseudonym "Gigi Effe".
The Italian edition of the well-known pamphlet is also due to Feltrinelli Of the misery of the student environment (1967), written by Khayati Mustapha and published by the Situationist International, considered the manifesto of the protests in the University of Strasbourg. The booklet is part of the numerous Feltrinelli editions of pamphlets dedicated to national and international political struggles that are part of the "Library Editions". Created in 1966, the series includes small files sold only at the counter of the Feltrinelli bookstores - to reduce distribution costs - alongside the gadgets of the revolution, such as, for example, the pins with the symbol of the peace movement; among the most significant titles they should be mentioned Documents of the occupation of the Liceo Parini (1968) Student wrestling at the Einstein high school in Milan (1968) university revolution (1969) and Che Guevara: example of proletarian internationalism (1967) by Fidel Castro, and The threat of a coup d'état in Italy persists by Giangiacomo Feltrinelli himself.
With the creation in 1970 of the "Franchi Narratori" series, conceived and directed by Balestrini together with Aldo Tagliaferri - who assumed full direction after 1972 - the publishing house demonstrated its ability to grasp the trend changes in the literary system, but also knowing how to promptly implement the political changes that will characterize the dissent movements of the seventies, within which political issues are closely linked to those concerning the personal sphere. In fact, the series includes texts defined as "irregular" which present themselves as a form of denunciation of the current problems of society through the first-person account of marginalized subjects considered "uncomfortable" with respect to the productive and cultural system, such as drug addicts, the unemployed, immigrants, disobedient politicians, outlaws and homosexuals. The presence of Diary of a homosexual by Giacomo Dacquino (1970), Alice the days of drugs (1972) and Impossible escape by Sante Notarnicola (1972; cf. Vadrucci 2010).
Feltrinelli's program — carried forward thanks to the decisive contribution of her collaborators — overall represents an important attempt to promote a political and cultural revolution from within the official publishing industry, using its tools and strategies, and without forgetting the needs of the market. In addition to the editorial choices, a particular articulation of the production and distribution system also derives from this approach, entirely managed by Feltrinelli herself, and the creation of a chain of bookshops organized as leisure centres, to meet a new model of use of culture (cf. Cesana 2010: 16–17). After the death of the founder, the publishing house continues to stand out for its particular editorial orientation, but gradually loses the militant character of the first years of activity.
REFERENCES
Cesana, R. "Required Books". The Feltrinelli literary editions (1955–1965), UNICOPLI, Milan 2010.
Echaurren, P. — Salaris, C., Counterculture in Italy 1966–1977, Bollati Boringhieri, Turin 1999.
Fuchs, M. Enrico Filippini publisher and writer: experimental literature between Feltrinelli and the 63 Group, Carocci, Rome 2017.
Mancosu, P. Zhivago in the storm. The editorial adventures of Pasternak's masterpiece, Feltrinelli, Milan 2015.
Pivano, F. Once upon a time there was a beat, Arcana, Rome 1976.
Vadrucci, F., “When the pen explodes with life. The series “Franchi Narratori” Feltrinelli 1970–1983”, Oblique studio, 2010, https://www.oblique.it/images/formazione/dispense/franchinarratori_dic10.pdf, online (last accessed: August 2019).
