“To read a stack of new and reissued books about Mr. Trump, as well as a bunch of his own works, is to be plunged into a kind of Bizarro World version of Dante’s Inferno, where arrogance, acquisitiveness and the sowing of discord are not sins, but attributes of leadership; a place where lies, contradictions and outrageous remarks spring up in such thickets that the sort of moral exhaustion associated with bad soap operas quickly threatens to ensue.” — Michiko Kakutani, “In Books on Donald Trump, Consistent Portraits of a High-Decibel Narcissist,” The New York Times (August 25, 2016)
Dante as “Tuner”
“[…] The spinner is the life of the party. The spinner is funny, socially adventurous and good at storytelling, even if he sometimes uses his wit to maintain distance from people. Spinners are great at hosting big parties.
They’re hungry for social experiences and filled with daring and creativity. Instagram and Twitter are built for these people. If you’re friends with a spinner you’ll have a bunch of fun things to do even if you don’t remember them a week later.
The tuner makes you feel known. The tuner is good at empathy and hungers for deep connection. The tuner may be bad at small talk, but in the middle of a deep conversation the tuner will ask those extra four or five questions, the way good listeners do. […] Shakespeare, Einstein and Isaiah Berlin were spinners, playing, in almost a thrill-seeking manner, with a whirl of ideas. Dante, Proust and Toni Morrison fall into the tuner category. […]” –David Brooks, The New York Times, June 30, 2017
Dante’s Inferno: The Graphic Novel by Joseph Lanzara (2012)
“Dante’s Inferno: The Graphic Novel by Joseph Lanzara uses Doré’s engravings as a base to illustrate Dante’s journey. Quite interesting, despite, or perhaps because of some bold swerves form Dante’s own plot line!” — Francesco Ciabattoni
Available for purchase through many online booksellers, such as Amazon.
—Contributed by Francesco Ciabattoni
Marco Santagata, Come donna innamorata (2015)
Marco Santagata’s 2015 novel Come donna innamorata — based on Dante’s biography, on which Santagata has also published — was a finalist for the Premio Strega. See the publisher’s description below:
“Come si può continuare a scrivere quando la morte ti ha sottratto la tua Musa? È questo l’interrogativo che, l’8 giugno 1290, tormenta Dante Alighieri, giovane poeta ancora alla ricerca di una sua voce, davanti alle spoglie di Beatrice Portinari. Da quel momento tutto cambierà: la sua vita come la sua poesia. Percorrendo le strade di Firenze, Dante rievoca le vicissitudini di un amore segnato dal destino, il primo incontro e l’ultimo sguardo, la malìa di una passione in virtù della quale ha avuto ispirazione e fama. È sgomento, il giovane poeta; e smarrito. Ma la sorte gli riserva altri strali. Mentre le trame della politica fiorentina minacciano dapprima i suoi affetti – dal rapporto con la moglie Gemma all’amicizia fraterna con Guido Cavalcanti –e poi la sua stessa vita, Dante Alighieri fa i conti con le tentazioni del potere e la ferita del tradimento, con l’aspirazione al successo e la paura di non riuscire a comporre il suo capolavoro…È un Dante intimo, rivelato anche nella sua fragilità, e nelle sue ambiguità, quello che Marco Santagata mette in scena in un romanzo che restituisce le atmosfere, le parole, le inquietudini di un Medioevo vivido e vicino. Il sommo poeta in tutta la sua umanità: lacerato dall’amore, tormentato dall’ambizione, ardentemente contemporaneo.” — Guanda
See Giuseppe Fantasia’s review in the Italian edition of Huffington Post here.
Meredith Miller, Little Wrecks (2017)
Little Wrecks is set in Long Island in 1979 and features three young women’s journey through sexual trauma to transcendence. Two characters discuss the Divine Comedy in the opening sequence and this discussion is revisited towards the close. The novel is structured in three sections/canticles, titled “Resistance,” “Reality” and “Resurrection.” Each of these ends with the word stars. It features a character named Virgil (Mackie) who appears and exits mysteriously and is perhaps not entirely corporeal. Virgil Mackie acts as a kind of guide for one of the central characters. Virgil and Ruth have, early on, something like that conversation in which Virgil points out that the poet’s body stops the light and we note that Virgil’s does not. The final passage of the novel echoes language found towards the close of both Purgatorio and Paradiso – the santissima onda, etc. It’s final sentence is “There is a place for her, between the sun and the other stars” so that it ends with Dante’s words. –Meredith Miller
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