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‘An anti-fascist history lesson disguised as a novel’ New York Times
‘A masterful historical account, an extraordinary and stimulating book. A portrait of Benito Mussolini all the more accurate and powerful as it is factual and rigorous. An audacious, fluid, dazzling production. A brilliant story’
Le Figaro‘An indisputable literary achievement. Scurati carefully examines history, with an experienced prose rich in literary allusions. Like Yourcenar, Gore Vidal, Sebald, Echenoz or Fences. Italo Calvino would have loved it’
El Paìs‘Resembles a political thriller … surprisingly modern. A must read’ Die Zeit
‘The novel Italy has been waiting for. A masterpiece.’ Roberto Saviano
‘Panoptic and polyphonic, Scurati’s book gives us the experiences of the fearful and the feared, the rhetoric of both the revolutionaries and the reactionaries … a multitude of short fragments that collectively add up to an immense mosaic’ Lucy Hughes-Hallett, New Statesman
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Detaljer
- Forlag
- Fourth Estate Ltd
- Innbinding
- Paperback
- Språk
- Engelsk
- ISBN
- 9780008363239
- Utgivelsesår
- 2022
- Format
- 20 x 13 cm
Anmeldelser
«
‘An anti-fascist history lesson disguised as a novel’ New York Times
‘A masterful historical account, an extraordinary and stimulating book. A portrait of Benito Mussolini all the more accurate and powerful as it is factual and rigorous. An audacious, fluid, dazzling production. A brilliant story’
Le Figaro‘An indisputable literary achievement. Scurati carefully examines history, with an experienced prose rich in literary allusions. Like Yourcenar, Gore Vidal, Sebald, Echenoz or Fences. Italo Calvino would have loved it’
El Paìs‘Resembles a political thriller … surprisingly modern. A must read’ Die Zeit
‘The novel Italy has been waiting for. A masterpiece.’ Roberto Saviano
‘Panoptic and polyphonic, Scurati’s book gives us the experiences of the fearful and the feared, the rhetoric of both the revolutionaries and the reactionaries … a multitude of short fragments that collectively add up to an immense mosaic’ Lucy Hughes-Hallett, New Statesman
»