By Franco Ricci
Studying Calvino's literary experiments as a tender artist looking for his narrative voice, Ricci explores the mental and existential motivations intrinsically associated with the writer's want for textual and systemic patterning. I racconti includes a few of Calvino's least-read works, but those early tales tackle matters, current situations and generate a growing to be edition of issues that shape the guts of Calvino's narrative discourse. Ricci issues out that depression permeates Calvino's works―even at his so much playful. He means that if Calvino's optimum benefit used to be his feel of ask yourself and his urge to remodel and defeat obscurantism with the entire pleasure he might muster, one needs to do not forget that his paintings expressed, usually painfully, the bounds of human rationalism. I racconti can therefore be learn as a listing of the anxieties of either the younger writer and postwar Italian society.
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Extra info for Difficult Games: A Reading of I Racconti by Italo Calvino
The soldier ponders the primal, consuming arbitrariness of fate and combats it with rationality: If it was his fate to die that day, he would die; if not, he would walk between one mine and the next and would be saved. He formulated this thought about fate without any conviction: he did not believe in fate. If he took a step it was because he could not do otherwise; it was because the movement of his muscles, the course of his thoughts led him to take that step. But there was a moment when he could take this step or that one, when his thoughts were in doubt, his muscles taut but without direction.
Yet, the prevailing figure of woman is always an ethereal one, never really materializing. Even Ludmilla, protagonist of If on a winter's night a traveler and a character with whom he identified ("Ludmilla sono io"2) is notably absent; she remains a motivation rather than a presence. Calvino's position is clear: "Behind all the stories with a bad ending there's always a woman, make no mistake about it" (The Path to the Nest of Spiders, 51). The fat woman in''Big Fish, Little Fish'' is weak. She controls men with pathos.
Giovannino tried to think of another game, but in the midst of each thought there returned the sight of those sad eyes and those red fingers. (45) Yet, they do not passively accept the terms reality sadly posits, but move beyond the playful destruction of everything imaginable to the purposeful subversion of the machinery of war. They annihilate the army. The children, and Calvino, take delight in their images: "Serenella smiled; this game was much more fun. . It was really exciting" (45). Having deprived the game of its violence and having annihilated humanity through fantasy ("I don't think that anything is left.