An extraordinary coming-of-age memoir by the Nobel-Prize-winning playwright My First Seven Years is Dario Fo's fantastic, enchanting memoir of his youth spent in Northern Italy on the shores of Lago Maggiore. As a child, Fo grew up in a picturesque village teeming with glass-blowers, smugglers and storytellers. Of his teenage years, Fo recounts the struggles of the Fascists and Partisans, the years of World War II, and his own tragicomic experience trying to desert the Fascist army. In a series of colorful vignettes, Fo draws us into a remarkable early life filled with characters and anecdotes that would become the inspiration for his own creative genius.

In the official citation explaining the decision to award the 1997 Nobel Prize for Literature to Dario Fo, the Swedish Royal Academy stated that he had emulated the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden. It went on to add that with a blend of laughter and gravity, he opens our eyes to abuses and injustices in society: Fo is an extremely serious satirist. Since the award of the Nobel prize, Dario Fo has never stopped writing, performing and painting. He was deeply affected by the death of his wife Franca Rame and has dedicated works to her.

Providing the most complete record possible of texts by Italian writers active after 1900, this annotated bibliography covers over 4,800 distinct editions of writings by some 1,700 Italian authors. Many entries are accompanied by useful notes that provide information on the authors, works, translators, and the reception of the translations. This book includes the works of Pirandello, Calvino, Eco, and more recently, Andrea Camilleri and Valerio Manfredi. Together with Robin Healey’s Italian Literature before 1900 in English Translation, also published by University of Toronto Press in 2011, this volume makes comprehensive information on translations from Italian accessible for schools, libraries, and those interested in comparative literature.

A shadow, in its most literal sense, is the projection of a silhouette against a surface and the obstruction of direct light from hitting that surface. For writers and artists, the shadows cast by their precursors can be either a welcome influence, one consciously evoked in textual production via homage or bricolage, or can manifest as an intrusive, haunting, prohibitive presence, one which threatens to engulf the successor. Many writers and artists are affected by an anxious and ambiguous relationship with their precursors, while others are energised by this relationship. The role that intertextuality plays in creative production invites interrogation, and this publication explores a range of conscious and unconscious influences informing relations between texts and contexts, between predecessors and successors. The chapters revolve around intertextual influence, ranging from conscious imitation and intentional allusion to Julia Kristeva’s idea of intertextuality. Do all texts contain references to and even quotations from other texts? Do such references help shape how we read? This multidisciplinary work includes chapters on the long shadows cast by Shakespeare, Dante, Scott, Virgil and Ovid, the shadows of colonial precursors on postcolonial successors, the shadows cast over Kipling and Murdoch, and chapters on other writers, dramatists and filmmakers and their relationships with precursor figures. With its focus on intertextual relationships, this book contributes to the thriving fields of adaptation studies and studies of intertextuality.

In this innovative collection, Indigenous and non-Indigenous scholars from Australia and Europe reflect on how their life histories have impacted on their research in Indigenous Australian Studies. Drawing on Pierre Nora’s concept of ego-histoire as an analytical tool to ask historians to apply their methods to themselves, contributors lay open their paths, personal commitments and passion involved in their research. Why are we researching in Indigenous Studies, what has driven our motivations? How have our biographical experiences influenced our research? And how has our research influenced us in our political and individual understanding as scholars and human beings? This collection tries to answer many of these complex questions, seeing them not as merely personal issues but highly relevant to the practice of Indigenous Studies. I think this rich collection will become a landmark text and a favourite within Australian scholarship. I am keen to see it published so that I can recommend it to others — Professor Emerita Margaret Allen, Gender Studies and Social Analysis, University of Adelaide The idea was to explain the link between the history you have made and the history that has made you — Pierre Nora