The Monsters Inside - Articles written by our readers

The Monsters Inside - Articles written by our readers


The monsters inside

The rhythms that life forces us to sustain every day are oppressive, unnerving, they take our breath away. We wait for the end of the working day as Penelope was waiting for her Ulysses, struggling, swimming quickly upwards so as not to drown ... the end of the shift is almost dawn, peace is the end of the nightmare. We are nervous, angry in spite of ourselves, "squalism is on the agenda, we are no longer surprised, victims and executioners of a system that devours us and if it cannot digest us it spits at us, if not even vomits us. the world of work is touring today, even for me. But I have my little corner of Paradise, a place where I forget everything, where the mind is reset and moved to another dimension ... a dimension of colors, of perfumes, noises, songs, voices, childhood dreams; it is not a new type of drug, it is simply a parca, a patch of green with a small pond in the center populated by many small beings that make it live, breathe , sing and enjoy.

I smell the smell of the grass, I listen to the sound of the wind in the branches, I look at the life that inexorably flows also for the small animals it hosts: turtles, mute ducks, mallards, sparrows, pigeons and small and large fish.

There are also puppies, delicate little creatures that make tenderness when, in the case of ducks, they follow their mother with that funny but very sweet gait. The "ducklings" are my favorites, they are small, delicate, awkward and very tender.

Let's get to the point: three children, a girl and two boys, probably brothers, alone, walking in the aforementioned park with their dog ... they watch the "duckies" play, laugh and have fun ... they do what every child does should do, without becoming a "figure" to be included in the world of work.

They pretend to catch them, but they can't, the "duckies" are fast ... you know !!

Suddenly an angry, hoarse, hissing voice addresses them with these words: "Don't even think about it, go and steal the children who are good at that!"

It goes without saying that the three children were of Gypsy ethnicity, probably Slavs.

What I see when I turn my head is an elderly gentleman, red in the face, who for the heat of scolding the three gypsies, has slipped the newspaper he was diligently reading from his knees.

I don't say anything, probably because if I had opened my mouth I would have been even more rude than him ... luckily the children, probably too young, seem to have not understood the meaning of the words of the "distinguished gentleman", and running away behind a bush , panting dog in tow.

What could have prompted a retiree to take it so violently with three children whose age together probably would not have reached his?

What monsters stir up this person's sleep?

A few days later, I am walking hand in hand with my husband, and I realize that he is weird, he listens to his ears and approaches the trash can on either side of the path. He gets serious in the face, puts his hand in the basket and I hear him mumbling ... when two seconds later he takes out his hand, in his palm he carries a "duck" that someone had thrown away, like a pack of cigarettes.

"People are sick ..." he tells me "... they are sick here ..." and points to his forehead.

I agree with him, we are all sick, some for one reason, some for another, but everyone tries to chase away their monsters in a different way: there are those who take it out on children, those with "ducklings", who with himself and he hurts himself, who with his work colleague, our system is sick ... a system that is scary.

I keep my monster at bay, looking at my husband's eyes, while he strokes the neck of the "duck" with a finger and then puts it back in the water.

Maybe I'm the last of the romantics, but what I know for sure is that evil is fought with good, not with other evil, if you smile at your monster, he goes away for a while ... just to a little, but it's already something.

Maione Denise

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We create monsters

We create monsters

However Palermo

Latest posts by However Palermo (see all)

"Slam the monster on the front page." It is a classic of journalistic language and reflects a style that has always proved to be perfectly functional in increasing sales. And even in recent days the media have had their "monsters" to exhibit, study, narrate, execrate, in the wake of a collective emotion that has shaken public opinion. And understandably, because we are talking about the story of a poor boy, Luca Varani, aged 23, barbarously slaughtered with stabbings and hammered by two young men aged 29 and 30 who, according to their statement, committed such an atrocious and free crime only for see what it felt like.

The killers have no excuses. They are not poor, they are not marginalized, they have never been victims of anything or anyone. They belong to the upper middle class that has money and spends it to have fun. According to the neighbors, "normal" young people. But if a “normal” young man can make a similar gesture, all the logical parameters, all the securities fail!

Or maybe we have to stop and think and ask ourselves if, without prejudice to the full responsibility of the two criminals, there is no hurry on our part to brand them as "monsters", perhaps also to exorcise the thought that basically grew between us and they come from families, schools, human environments that we, and no one else, have built or at least endorsed.

"Young people," wrote Umberto Galimberti, an unsuspected observer of moralism a few years ago, "even if they are not aware of it, they are ill" (The disturbing guest. Nihilism and young people, p.11). Don't be fooled by their noisy euphoria on disco nights, by the whirlwind succession of their sexual experiences, by their indulging in various types of drugs. They "seek entertainment because they do not know how to rejoice" (ibid., P. 34).

What appears to be fullness of life is in reality only the antidote to a profound inner discomfort: "The present becomes an absolute to be lived with maximum intensity, not because this intensity brings joy, but because it promises to bury the anguish" (ibid. , p.11).

A tragic symptom of this malaise are suicides - four thousand a year! - that in our country, among young people under the age of twenty-five, constitute the second cause of death after road accidents. It is in this context that we need to situate the many acts of gratuitous, senseless violence - such as the one we are dealing with -, filed with the chilling bureaucratic formula: "premeditated voluntary murder without motive".

Someone has timidly noticed that the new generations, rather than those responsible for this loss, are above all the victims. Educators worthy of their trust have failed. As it says in the pastoral guidelines of the CEI: "Young people often find themselves confronted with unmotivated and not very authoritative adult figures, unable to bear witness to reasons for life that arouse love and dedication" (Educating for the good life of the Gospel, no. 12).

And above all, the ideal points of reference - truth, values ​​- capable of giving meaning to choices, to life, have failed. Therefore, youth crises are no longer an individual fact, linked to growth, as they once were, but they depend on a climate that one breathes: "In the desert of senselessness that the nihilistic atmosphere of our time spreads, discomfort is no longer psychological, but cultural"(Galimberti, The disturbing guest, pp. 11-12).

What is striking is the harmony between the diagnosis of this “lay” intellectual and that of Benedict XVI in Letter on education, which he addressed, at the end of January 2008, to the diocese and the city of Rome: «Too many uncertainties and too many doubts circulate in our society and in our culture, too many distorted images are conveyed by the media. Thus, it becomes difficult to propose to the new generations something valid and certain, rules of behavior and objectives for which you deserve to spend your life ».

The educational emergency, in this context, concerns adults, educators, more than young people: "When in fact" - the pontiff noted - "in a society and in a culture marked by a pervasive and often aggressive relativism, they seem if the basic certainties, values ​​and hopes that give meaning to life fail, the temptation to give up one's task easily spreads among parents as well as teachers, and even before that the risk of no longer understanding what the their role and their mission. Thus children, adolescents and young people, despite being surrounded by a lot of attention and perhaps kept excessively sheltered from the trials and difficulties of life, in the end feel left alone in front of the great questions that inevitably arise within them ".

"Slam the monster on the front page." It can serve to hide the real problem from ourselves. We create monsters, our "emancipated" culture, now free from the taboos and dogmas of the past, not replaced by any other certainty than that of a void we call freedom.

Therapy can be derived from the diagnosis: if the crisis arises on the cultural ground, "it is on collective culture and not on individual suffering that we must act, because this suffering is not the cause, but the consequence of a cultural implosion of which young people (…) are the first victims "(Galimberti The disturbing guest, p.12). Instead of being amazed that, at least potentially, only destruction results from a renunciation of every truth and every value, let's try to reconstruct, starting from these ruins, perspectives of meaning. If we do not want to find ourselves still in front of young people who kill just to see what effect it has.

Today our column "Written by you" resumes with a nice piece that "Mammut" sent us, a pseudonym to guard the identity of a Monreale man who wants to send a series of articles to our editorial staff to try to snatch a smile from our readers. Articles full of pungent irony ...

In this topical moment of our existence, the sleep of our reason could generate monsters that are powerless with respect to the state of social alarm produced by the fear of viral contagion. We must be vigilant, stay at home, strictly follow the instructions of the Civil Protection, the Bodies in charge of Health Public and to the directives of our National, Regional, Local Government. According to the Lichean Regional Institute of Statistics, directed by Ernesto Campa-Ammuzzo, sleeping six hours a day activates unusual levels of Swiss guard, activates the immune system, cabbasisi with annexes and connected and protects us from telephone scams because being pissed off. for the six hours of sleep, we will send the crooks to that country, blocking the phone.

According to Dr. Campa Ammuzzo, 75% of citizens out of a sample of three million inhabitants would consume an average of 7 coffees a day, enhancing anger and violent reactions against malicious marauders and pain in the ass. More aggressive citizens, they will better defend the legality in our cities and will be more in solidarity with the communities where they live, helping the most needy and disadvantaged and respecting the directives of their local governments. After a moderate dinner at "0 km" and the news of the Tg nationally, they would clear the table, wash dishes, pots and cutlery, do separate collection at the right times and recite half an hour of the Holy Rosary. At midnight, everyone goes to bed and awake at 6 in the morning, with two solemn coffees hot and burning like embers lit in the embers. Doctor Campa adds that one can make love, each one according to age and if they like.

In Maurice Sendak's Land of Wild Monsters

In the land of wild monsters by Maurice Sendak is one of those books that go down in history, a true classic of children's illustrated fiction that, from 1963 to today, fascinates young and old.

What makes a book and a work rise to the rank of "classic"? A million dollar question on which millions of words have been spent and pages and pages filled with books, from high school upwards. And today I wonder, just because we are about to talk about a true classic of children's fiction, one of those books that everyone, sooner or later, has read and remembers with equal pleasure.

I'm talking about the picture book of Maurice Sendak, In the land of wild monsters .

What happens when little Max decides to become the terrible Max, disguising himself as a wolf and contravening all of Mom's recommendations and rules? It happens that his room is transformed into a very dense and intricate forest and that, after a long journey by sea, he arrives in the fantastic land of the Wild Monsters of which he will immediately become the leader, because he will be able to prove himself the most fearful of all! And precisely in this magical land, he will give life to his wild jumble, an epic series of raids in which, with his new friends, he will combine cooked and raw, until the nostalgia for good things and mother's hugs he will make himself heard and bring him home.

So we were wondering what a book defined, and a story, how a classic. Although I don't have a unique and absolute answer either, in Sendak's case there are no doubts: his story and his illustrations tell of a world that lives in each of us. Generations of children and adult readers remember it, read and reread it with pleasure and this is because the narrated world, and its imaginary, retraces paths that each of us has lived, or still lives. They are the streets of our dreams, of our imagination and of the most hidden fears, those in which our fears are inevitably transformed into terrible monsters, the undisputed protagonists of our imagination.

And that's why, as if by magic, each of us finds himself traveling with Max on that little boat of his, alone in the middle of an immense sea. And then, together with these beings with kind faces and the features of giants. Or again, intent on a real wild jumble, which has so much primeval and liberating, jumping from tree to tree, screaming at the sky and rolling on the ground. And who is the real monster in this story? Little Max who, intent on exorcising his fears, becomes a true champion of wickedness and mischief. But it is all functional to overcoming them. Because, then, the enthusiasm is released and the desire for home, for cuddles, for warmth returns, overcoming fears and loneliness, finding the path of tranquility that does not come only from what surrounds us and from the fixed points that people and things around us know how to build, but also and above all from the fixed point that Max, all of a sudden, knows how to build in himself.

Sendak, therefore, tells the story of a child who faces loneliness and fear and, alone, as if through an initiatory path, he manages to find himself, exorcising the monsters that his imagination has been able to create. A cathartic and formative story, which helps our little ones to understand what magical and mysterious happens, at a certain point in their life, in their equally small soul.

And a pleasant story also, and above all, for the illustrated tables that accompany the pages of the book. Illustrations that are never didactic or out of context, but which seem to be made on purpose to become indispensable and necessary to complete the story perfectly. Each design is studied in detail, from the nuance of color to the stroke of details and large backgrounds: nothing is left to chance, so that each page has the power to immerse you in a fantastic world, in which getting lost is so easy, when pleasant. .

A reading that Micro Ninja and I recommend and that we will continue reading every night, before going to bed ... when wild monsters hide under the bed and inside the wardrobe.

This book is available again in the Library! Order and request your copy from Covo Della Ladra

The Monsters Inside - Articles written by our readers

Screenplay and texts from the CD-rom of nursery rhymes
for children written with Roberto Piumini, 1997

A "channel" from Junior, the RAI children's site.
Designed with Mela Cecchi, in 2001
To the index of works


PANGEA, 2002

A poet for children and for old people?
I don't know why, or not yet, or not at all. Perhaps because adults have not been giving worthy proof of themselves, for years now, in the Poor Homeland? And is it convenient for a poet to direct his forces to console those who have become grown-ups, who do not leave in despair, and to encourage those who will be, to put their hand to work with good speed and different intentions?
Maybe that's why, maybe not. The new words come by themselves, when the time comes: then it is the task of oracles, philosophers and priests to interpret them.The words for this new title of honor, "poet for children and old people", came to me recently, in the winter of 2010, with the instant and happy certainty that this time it is not necessary to decipher them, not immediately. For now I am satisfied (and very much) to know and say it: then the time will come to understand and explain it.

Writer "for", fine, but of what?
So this is a writer's "for" website. Whether a writer with the qualification "for" is a true writer, a writer and that's it, is a long-standing and boring question that I will not deal with here: I leave one of the thousand possible answers to a short Post Scriptum.
Writer "for" then, okay, but of what? Writer especially of books, but also of television (or better Melevisione), theater, a few years back of multimedia, sometimes of essays, rarely and marginally of cinema.
I'm talking about genres of writing, not of support: the fact that in recent years it has happened to me to publish poems on festival t-shirts, walls of pediatric wards, national newspapers, Coop snacks etc. for me it is only a happy extension of the books, an expansion of the breath of poetry outside them.

An amanuensis site
This site was written and built by myself in long nights of long years, since '97, in the amanuense language of HTML, with some technological pen at the beginning, some HTML editors, but nowadays mostly freehand. It has never stopped being updated with news and glimpses and insights into the new works that time brings me. It is a spartan site, without animations and forms and applets and flashes and java, only texts: because it is the site made by an amateur, and because it is the work site of a writer. On the other hand, in fact, it is overflowing with texts.

A labor resource
From the initial slightly narcissistic face of the "Personal Home Page" - then in fashion among the pioneers of the web and today I believe completely replaced by blogs and social networks - this site has changed shape and function over the years to become more and more a work resource. It is a source of information, materials, biographical and bibliographic notes, descriptive cards of meetings and conferences, presentations and insights and large excerpts from published books, articles and complete essays, unpublished works, theatrical texts, interactive scripts, curriculum, photos, contacts (Book of Guests) etc. These resources are now used with a certain intensity (about 100 visits per day on average) mainly for three purposes:

    1 . curiosity and affection by readers
    2 . work: from event planners, meetings with schools, conferences with adults, training courses, masters, festivals, etc.
    3 . study: by students, undergraduates, doctoral students for exams or degree theses or other researches

"How do you become a writer"
When I talk to children in schools and they ask me when and how to become a writer I answer like this: you become a writer in two steps, twice.
You begin to become a writer the first time you write something nobody asked you for: neither the teacher, nor any other great, nor a friend. If one writes something that it has occurred to him to write ber bizza or beauty, he is already almost a writer. He is missing only one important thing: the readers. Real readers, however, not his family or friends. Real readers are unknown readers. And where are the unknown readers located? In bookstores.
One ends up becoming a writer, with the second step, as soon as that thing that has been written without anyone asking for it becomes a book that real readers can buy in bookstores.
As for me, I place the first of these two stages around 1960, at the age of nine, just a year after the golden age, when I wrote without anyone asking me a poor but well-rhythm rhyme about flowers and April and colors, which the fourth grade teacher Professor Cammellini of Cagliari greatly praised and complimented me. I owe perhaps more than when I know to those public praises in front of the class, but I still had to wait thirty-two years for my second stage to arrive, the publication of the book of short stories "Angels, lizards, children everywhere" in 1992, with Fatatrac, publisher that I have never left since.

What Natalia said almost thirty years ago
This is not the place for biographical notes, which elsewhere are summarized in more exact forms. But to finish this presentation, this Welcome on the site of my work, between that first and second stage of becoming a writer, in the ocean between those two very distant shores, I want to mention just two things. The first is a route: the path traced by ten years of furious and flourishing writings for the theater, of which I leave the story on other pages. And the second is just an island, which appeared on the decline of that route, a small and illustrious omen and perhaps fatal for me. In July 1986, in response to three little fairy tales I sent her (which I don't remember and I'm afraid I lost) Natalia Ginzburg unexpectedly answered me, writing as follows:

    Dear Bruno Tognolini
    The short stories you send me seem pretty, written in a neat, very literary style. Regarding a possible publication, I find them very difficult to place: you say you have written them for the boys, but in a series for boys I would not see them.
    I do not know what to tell you if not to continue writing about literature you free yourself by writing. The difficulty of writing fairy tales today is enormous the difficulty of writing for kids is enormous the difficulty of writing today, in general, is enormous.
    However you try to write the same.
    I send you the fairy tales and still wish you to continue.
    Natalia Ginzburg

Writer "for", but for whoever I want
"I don't know what to tell you but to keep writing". I didn't know then but I would have followed that advice. I had to wait six more years before writing, with the Albero Azzurro at RAI, became a job that gives not only dreams and knowledge, but also to live. In fact, since then I have the good fortune to live off what I write, and the further boundless luck of writing what I want: stories and rhymes. On different media and supports, on the paper of books or on the television screen, on the woods of the theater or on the bites of new media, but stories and rhymes: not magazines or talk shows or prize games, not informative or educational books for schools , not slogans or campaigns. And for whoever I want: for books and theater and RAI cinema and TV, not for Mediaset or advertising.
"As long as it lasts", I always feel like saying at this point, more out of a sense of proportion than out of superstition. And for the sense and measure of one's destiny, of the relationship between what was expected and what one had, I come to conclude that even if it ended today, it was already a lot.

Published and unpublished works published online
One last thing remains to be said, of almost legal substance. I am not a proponent of "copy right free", because I live from my work: just as a carpenter would not give to passers-by, or not beyond measure, the chairs he manufactures. For this reason, enough published books are published on this site for a use similar to what is done in the bookstore: reading them, standing and passing, just enough to understand if we will buy that book or not. If so, a link to the Bookshop website is immediately available, where the book can be ordered if desired.
The risks of publishing unpublished materials online (theatrical texts, scripts of interactive works, articles, projects, various occasional ones) will instead be faced in other ways: with excerpts, glimpses and cuts. Or with a shrug. Or finally with the confidence - not entirely candid - that no one will abuse it. I have always been convinced that appropriating other people's ideas is nonsense: even if we manage to pass them off as ours, what will we do when they ask us for other similar ones? If you steal an idea, you will have only that: if you have a good relationship with the creator.

Post Scriptum. Are children's writers real writers?
From an interview that appeared in 2011 in the Giunti magazine "Vita Scolastica".
Being a poet for children is a profession. Or rather, a mastery, an applied skill that adds to and completes an art. You need to be a doctor to be a pediatrician. The art belongs to the doctor, the profession of the pediatrician. You have to be a poet to be a poet for children.
It is true: many of those we call poets (almost all) are not "for children". But many children's poets are also not poets. Unfortunately - or perhaps fortunately - there are no degrees or books. Publishers should be the ones to attribute them. And instead, while no one would ever put their child in the hands of a pediatrician who is not a doctor, many put books by writers of verses who are not poets in the hands of their children. Who do the job without having the art.
On the other hand, there is an advantage. In a hypothetical emergency situation, if an adult is sick, he can well rely on a pediatrician, if there is no other. With greater suspicion, I suppose, a mother would entrust her ailing newborn to a geriatrician. The art at the base, poetry, the least common, plays in favor of us poets for children at least in this: it is my confirmed experience that poems for children work wonderfully even with adults.

Writing is a three step step

Tiziana Bruno, for her book "Words like stars" (Edizioni Mammeonline, 2013) asked me three questions about creativity. The first sounded like this: "What is writing for you?"
One of those questions as naked and raw as fruit pits, which if they fall out of time can equally generate a leafing of nonsense or silence. But maybe for me it was time, and the answer flowed smoothly and serene, in three steps. Leaving the other two answers to the reading of the book, which dealt with infantile creativity, I reproduce the first one here.

First step. Writing is a medium At the beginning, when I was a kid, 11, 12, writing was a means. Oriented to an end. The aim, I believe, was the redemption from a painful condition of inadequacy in the presence of my peers, of which I felt I suffered. Writing well, beautiful Italian themes for example, I was instead publicly praised, those themes were read in front of the class, the scene of other defeats. So by chance, by nature, by expansion in the least resistance, like someone who sees his most probable redemption in sport, study, cunning, and pursues that path: so I pursued writing. What if write well it was the means to that end, I tried to write well, always better.
Second step. Writing is an end But Hamlet says: "And here, instead, I got a taste for the opera. Little by little I forgot that it was my murdered father, my prostituted mother, my throne. I went on arm in arm with the fictions of a beautiful subject: and there 'argument. it's beautiful! "
Writing is a Beautiful Enchantress. In trying to make my language and its song more and more beautiful, so that it would serve me, I did not realize I was falling into its enchantment, and I served it. Unbeknownst to me, the alchemical transmutation was manifested: from stone into gold, for me from means to end. Although in silent, indigent pride I continued to expect praise for my writing, that was no longer the real purpose. Because there were none, or no weight. Had those praises been the end, sooner or later I would have given up: I didn't do it, so it was something else. Perhaps this: the aim of writing well is to write well. It is beautiful and self-sufficient.
On the sidelines, the heterogenesis of ends: in reality it was also enough for something else, without my knowledge. For example, to persist so long as to make it, or have to do it, my job.
Third step. Writing is a medium But I still didn't realize what was happening in the meantime. Another force was at work, unseen. Alongside aesthetics, ethics. Beside the beauty, the truth. I never wrote anything that wasn't true, true to me. That I could not not only write, but subscribe. And not by choice or by meritorious conviction, only by nature, by genotype: I simply could not do anything else.
Thus writing, under the twin thrust of those two forces, was changing. And just as Sisyphus was unaware, in the vain effort up and down the cliff, that in the meantime he was building his muscles, so I did not notice that the writing matured, it gradually became suitable.
Fit for what? I did not know. Not me.
But Apollo, or some orixà, or Grace, or my people, or the whole human assembly, or the ancestors, in short, someone out there was keeping an eye on me. And when he saw that that writing was now ready to bear the brunt, he rode it. He made use of them: like a god of the bones of a shaman who has become skilled enough to throw them. My writing is back to being a medium, but in his hands.
That writing is no longer for me, nor in and of itself: it is for something else at the source, I don't know what.
But I know for whom it is at the mouth: it is for the others.
Maybe (the signs comfort) for everyone. For children and their grown-ups.
And beware, there is no pride in this, but the opposite. Eliot wrote it in the Four Quartets, once and for all: "what there is to conquer / with strength and submission, has already been discovered / once and twice and many, by men / that one cannot hope to emulate".
Strength and submission, strength and submission, to arrive at a writing useful to all. Like so many writings by so many writers and poets, whom I cannot hope to emulate, they have been useful to me for my life. And then we can venture a point of the map: I am only returning, at least in part, what has been given to me. Just carrying, for my short stretch of river, the water further ahead. That river of text that flowed before me and will flow after, without end and without means: only an infinite flow of human beauty, as much as possible, of strength and submission, of care and compassion.

You show school textbooks

I received this message in my Guest book (of which I omit the incipit of praise for my work, extraneous to this context):
Date: 4/14/2013, 23:44
Name: Marta
Number: 1.265

(.) Now my son has to carry out a task given at school. This is the nursery rhyme "The narrow earth". In the interpretation reported by the school text ("You are about to read", Loescher) the "monsters" are evil creatures that bring evil to the earth, this evil can never be defeated ("always killed and more and more alive"). Is this interpretation correct? My son and I disagree and think she didn't want to communicate this with her nursery rhyme. Help us to carry out the task given by the teacher. I thank you infinitely.

Here is the poem in question, which for years has wandered around the web, like my other RHYMES OF OCCASION, and which in September 2013 will find its home in the volume RIME RAMINGHE, published by Salani.

Once upon a time there was a narrow boundary
Which separated two neighboring lands
A called Country of Us
The other called Paese del Voi
For a thousand centuries these two lands
They made contests, they made wars
For those who ran slower or faster
For those who counted the best stories
For those who sang with the most beautiful voice
And for those who had lighter skin
But among them there were creatures
Which were light but they were dark
They were good but also bad
Always killed and more and more alive
They weren't here, they weren't there
As if they were always in half
They weren't ours, they weren't yours
And they called them Monsters

In the moment in which I sent my Rime d'Occasionhe wandering in the world (on the web), I accepted that they faced all the possible risks and destinies. Moreover, I do not believe that, once published, they will have greater protection from their publisher: a publisher authorizes the insertion of a passage to which he / she holds the rights in a school text, does not intervene (does not have the time or perhaps the right) on the 'any comment that is placed side by side with the piece.
Of course we should hope, and perhaps expect, that an author-editor of school texts (we are talking about Loescher!) Will give less reading. uh. hasty of the songs she chooses.

I replied to Marta that she and her son are perfectly right to doubt that comment, which interprets poetry in its antipodes. I advised them to bring to the teacher, in support of a more correct reading, and contrary to that of the school text, some arguments:
1) the explicit line, contained in the poem itself, "They were good but also bad"
2) the figure of water between the river and the sea, just before and after the mouth, which is defined in Italian as "brackish water": between every salty and every sweet there is a brackish, in nature, in culture, in ethics
3) all the poems in the book RIME CHIAROSCURE, by Carminati and Tognolini
4) the magnificent lectio magistralis by Umberto Eco entitled "HOSPES HOSTIS - Building the enemy" (May 21, 2008)
And it could go on indefinitely.

The fact is that life, and the art that figures it, are superbly, luminously complex. School texts should recognize, when pointed out in a text, and protect as an asset, not iron like a shirt, this vital complexity.

A month later I received the reply from the editor and the editor of the textbook in the Guest Book, explaining their reasons, and to which I replied in turn. Who was curious about this short and interesting correspondence you will find it here.

I would rather not

In late November 2013, I received an email from a large international advertising agency working for Apple.
They declared themselves interested in using two of my poems (Nursery Rhyme of the Four Wizards of the World and Nursery Rhyme of Wonder) for their next advertising campaign.
Good heavens, I said to myself: Apple!
He didn't say more. To know the details, I would have had to sign and return the attached Confidentiality Agreement.

Flattered as a peacock and curious as a skunk, I went to reread those two nursery rhymes to understand what the High Elves of the Apple might have found suitable for their campaign.
Maybe I understood. Something in the first ten lines of the Nursery Rhyme of Wonder, and in the last twelve of the Nursery Rhyme of the Four Wizards of the World (moreover unbearably long) must have seemed useful to him.
Somehow it didn't surprise me: I just wondered when it would happen. It is not arrogance, just artisan conscience: I know well that my nursery rhymes have inside, like little "Intel Inside", the same splinters of verbal technologies, the same poetic nano-engines that are the bread of my copywriter cousins. And I've always told myself that in another life I could be an advertising.

Exactly: in another.
Flattered as a peacock and as refractory as a mule, I responded in the most form kind and polite that I could. So:

"I deeply thank (* agency name *) for this opportunity. It does me honor, and makes me proud.
And sincerely, nothing against writing for advertising: a lot of great and worthy writers, much better than me, do it.
But personally, as far as I can, I'd prefer not to. "

"I'd rather not", as good Bartleby used to say. For two reasons.
The first: I don't send girls to serve!
The second: I should have abjured and had my beloved booklet TOPO AFTER TOPO removed from the bookstores, because of a certain rhyming answer that the Pied Piper gave to the Burgomaster. The scoundrel had said to him roughly:
"You can forget that I pay you for having freed the city. However. I saw how enchanting, with that pipe. Listen: if you you play for me. , for my party, my brand, my bank, my chain of stores, my church. you can stay and I will pay you.

The piper answered him as you can read here.
That poem turned out too well, I couldn't throw it away.
All there.

Orlando in Mantua for children and adults

For the Mantua Literature Festival I was asked for two interventions, one for children and one for adults, as part of the special project Furioso in Festa, which for two evenings and two nights animated with voices, comments, declamations, music and theater the splendid halls of Palazzo Te. Here two notes, upstream of the event of the great and downstream of that of the little ones.


Event for adults
Mantua, Palazzo Te, Sala degli Stucchi, Friday 7 September 2012, 10.45 pm

This article was published in the COLIBRÌ festival newspaper
Here is a review of the event written by Alberto Sebastiani on the Caffeletterario.Bo blog on in Bologna. Orlando's octave is groundwater that flows hidden in the land of our culture, to gush in unexpected resurgences. Here I will tell how I discovered it, I will make a map of this karst river and its outcrops, as I have seen them in my life and in my land.

The first source in life was in high school. I have no clear memories of it but I guess that already there, under the dutiful shrugs, that song secretly captivated me. The next surfacing, the first of which I remember, however, is a Reader's Digest box set with book and records, "The Golden Pages of Italian Poetry", which I inherited from my grandparents in my early twenties. In his 45 laps there were six songs from Orlando, said by Albertazzi, Sbragia, Lupo, the great Romolo Valli and the unattainable Arnoldo Foà.
The third step, material and cultural, was the mutation of the support: with the revolution of the walkman those small vinyls, which could not go around the world, were transmigrated into "cassettes". Throughout the 1980s, Orlando's octaves accompanied me on headphones in the furious season of the theater. The same years in which, moved - attention! retrograde motion, from orality to writing! - moved by that spell, I finally read the poem in its entirety.
In the early 90s CDs arrived, a vast Fonit-Cetra series, bought at the cost of sacrifices: same actors but many more songs, fifteen! Those too had to wander with me on trips for the first ardent enterprises after the theater, with publishers, multimedia, RAI. From the CDA format those songs, now digital and therefore suitable for migration, passed to MP3, and with this vehicle to the PC, the iPod, the mobile phone.
I was listening to the Ariosto octaves then for pure pleasure, without other purposes, as it must be at the dawn of a formation. And I still listen to them on several occasions (the most ritual when I do the dishes), half-seriously cloaking with targeted ends (the rhyming training) what continues to be the purest and most goofy pleasure of the meter, of the language, of the story, and of the voice that knows how to knead them with wisdom, without anyone ever leaning over others.

But for a while I had begun to realize, through sightings, that that karst river, as well as in my personal history, was flowing and transmuting in the culture of the country around me.
DAMS, late 1970s, ethnomusicology exam with Roberto Leydi. Not in her books (alas very little was studied on books), but in the "field research" that those books inspired us, in the festivals of my Sardinian land, listening to the poetic competitions, camouflaged under abstruse melodic structures, here she is! Recognized: the octave! But how the hell did it get there? I don't know, I don't care, but it's great. The blank form, the genetic pattern that those assiduous listening had impressed on me, when another phenotype appears: click, "match the pattern", read the code and recognize it again. And I must add: with what comfort! A thread, a kinship finally linked my two cultures. They are not so separate - there are steps! And so maybe I too will be able to pass.

And from there on, elsewhere, everywhere. In Tuscany, the company of the Maggi di Buti, which for some years I followed in a certain Sicilian "cunti" by Mimmo Cuticchio in certain stornellate Marche. Again in Sardinia: in '99 I scribbled an octave of mine on a sheet of paper and asked the Tenores of Orune to sing it. With a few uncertainties, due to the jet-lag of the tongue, the ribonucleic scheme is triggered and the thing succeeds: an acceptable, vital hybrid, I have a video that testifies to it.
Meanwhile, in fact, it thundered so much that it rained: so much I read that I wrote. Or so much did I listen that I played. In '96 Fatatrac published my first poem in octaves, "La sera che la sera non COME". Which since then, with other similar works, continues to be read and reprinted.
But this is not the least important - although many children, in almost twenty years, have read and heard those octaves read, which for many will be the only ones in life. Those poems have no more importance than any verse of the Maggi sung now, or centuries ago, in the Pisan mountains, or a contrasting octave in Sardinian language, or a stornello, a respect, a strambotto, a degraded string that echo in some rap by the great Frankie HI-NRG. An ordinary brook in the river, in that singing of Orlando that passes through the centuries, secret groundwater, from rhapsode to rhapsode.

In Mantua, in the Orlando Project, I will be proud to be just one of those innumerable rhapsodies, witness of that buried but alive river, the bearer of its water. Orlando in Mantua for children and adults


Event for children
Mantua, Palazzo Te, Sala Polivalente, Friday 7 and Saturday 8 September 2012, 6.30 pm

Short note that I will soon expand in a more detailed discussion in the journal VITA SCOLASTICA of Giunti.
During the Mantua Literature Festival, a few days ago, an experiment was conducted, entitled "FURIOSO IN FESTA". The public was invited to follow at their choice, in the magnificent rooms and exedras of Palazzo Te, a flood of simultaneous events, commentary, storytelling, music, theater and others and various combinations of Ariosto's Orlando Furioso.

Within this experiment, I personally conducted an experiment: in addition to a nocturnal meeting with adults, which I tell about in other locations, two meetings with children on the Orlando Furioso.

At first I reacted to the proposal from the direction of Festivaletteratura with fierce perplexity: poor children, how can anyone talk to them about Orlando Furioso? Of its magnificent history, and - for me inseparable from history, like the two wings of Sense and Sound in a poem - of its magnificent language?

How useful and beautiful it is to happen, thinking about it, those initial obstacle perplexities have become a resource, from a problem theme, the very topic of the meeting, which was already exposed and played out in the title: "ORLANDO, WHAT ARE YOU TALKING ABOUT?"

I tried to tell the children two exciting episodes of Orlando (Olimpia and the monstrous killer whale, duels with split heads) and I told them - attention: this was the heart of the experiment, or of the mission impossible - not with the usual paraphrases (used for example by other children's authors in the same context), but making use of the original octaves. Naturally few, eight or ten, beautiful and powerful, dwelling on each for a long time, interrupting them (alas) with some quick real-time translation of archaic words (but then rereading them whole!), With reinforcements of moderate pantomime, references to the current fantasy in the cinema and in books, etc.

The intent was to reason with the children about two things: the compelling stories of a time when there was no cinema and above all an "incomprehensible" language, as it is ancient (the grandfather of the Italian that they themselves speak today) and as a poetic (but why do poets complicate things so much?). But how is it that then, if that language is so old and incomprehensible, it can still be read after five hundred years?

Well, the results were not disappointing, on the contrary: flashes of understanding (and of playful pleasure in the passed test of difficult understanding) were caught in the eyes of older children. The usual little girl of four was sacrosanctly bored: but in the standard audience of meetings with primary schools, for example with homogeneous sets of fourths and fifths, the proposal, well balanced, will work.
And I really believe that I will "put in repertoire" this foray into the Italian literary language in my meetings with schools.

Language is a living creature: it changes as it grows. Have children ever seen photographs of their parents, of their grandparents as children? They don't recognize each other, do they? And as kids? Maybe something, in the look, in the nose. A little 'they recognize and a little' not. For the language it is the same thing: the grandfather of the Italian's grandfather, whom they now understand well, do not understand anything. "Orlando, what are you talking about?" But it's true? Just nothing? Listening well, and being carried away by flaming and compelling stories like today's fantasy films, with the help of someone who loves and knows how to speak that language, something is understood. And when you understand, I have seen with my own eyes, still like it, after five centuries. In short: the grandfather is in good shape.

A writer loved by the teachers?
Nicoletta Gramantieri, valiant librarian of the Salaborsa Ragazzi di Bologna and my friend, wrote me an email at the end of September 2013 with the subject "Effetto Tognolini". He says that the reservations for my meetings with the schools, scheduled in Salaborsa for spring 2014, were sold out not in a week, as usually happens, but in a few hours. Followed by the furious protests of the excluded teachers.
Nicoletta concludes: "The Tognolini effect. But how much do the teachers love you? You can be proud, narcissistically proud, can't you?"
I answer you here, because it is a story that is close to my heart, after all these years, to tell everyone.

Today yes, Gramantieri, I am proud of it: professionally, and perhaps even a little narcissistically.
But for a long time this was not entirely the case. For a long time I have been plagued by threatening doubts, which sounded like a fatal, structural vice of my work: it was perhaps me then a children's writer that adults like more than children?
And since for me a lot is played on words (on the Name that perhaps describes but perhaps prescribes the Rose), for years I have tried to resolve this inconsistency of things by defining my works with these words: they are children's books "adult mediation". Weak and gray words, in reality, that could not cover the gray frustration that children, when they could choose for themselves, my books did not choose them so much.
It was of little use to repeat myself, comforted by many authorities, that when children choose by themselves they end up obese for snacks and worshipers of the Lord of the Flies: the gray frustration, the doubts of not doing my job really well remained there, stubborn and tedious.
It took years of patience for this to change.
Now they tell me everywhere I go that children, when they read it, want RIME OF ANGER for themselves, they want it in their pocket.
Just to be always a little alarmed, which is good for the spirit, not even this alleged "target achievement" leaves me completely calm. But it would be long and vain to explain the reason for this stubborn restlessness, even I don't understand it (except with Chiang Tzu, Book XXVI, quoted by Salinger: "The sage is full of anxiety and indecision in undertaking anything, and therefore has always success").
Anyway, I admit it: now I am more serene, more at peace with the effectiveness of my work, with the discreet achievement of its aims.
And as a consequence (or who knows, since it is not yet clear whether the Name follows or precedes the Rose, perhaps as a cause), since things have changed, I have changed the words I have abandoned that gray resigned definition of the author of children's books "adult mediation", and now I define myself, happier, "writer for children and their grown-ups". Disrespected and amused that Radio Tre has found an even more beautiful definition for its "Little Radio" show: radio "for children and adults close to them". Exact.
Here then: I know I am appreciated by teachers (some say adored), throughout Italy. But I also know how many years it took. And how much loyalty to oneself, to what it seemed to me beautiful first of all, and immediately afterwards or almost together quite right to write: without pursuing pimp fashions, neither towards teachers (the writer Talking Cricket) nor towards children (the writer Lucignolo). Because after all the road is always the same: between Lucignolo and Grillo Parlante. run Pinocchio!

Synopsis of scattered poetry

I am a lucky writer, compared to many colleagues: my luck is not in the books. You just can't keep it: it escapes and goes into the world.
I myself left the pages a little open to the Rime Girls, publishing them on the website and on social networks. A little longer if they opened them. And finally I was really asked to write them not for books but for walls, T-shirts, newspapers, weddings, TV, oil, festivals, songs.
This condition gives me, at the head of the years, an enviable Zen posture compared to many colleagues. I don't get too dark about the copies more or less sold in the accounts, the invisible books in the bookstore, fugitives in the festival benches, eternally absent in the meetings with the schools.
It's not that tragic, I tell myself: the words of those books are around
I am well aware, of course, that this sporulation in the wind can make small flowers fly, rhymes, and not large branches, novels. Who knows, maybe this is why in thirty years I wrote 1360 nursery rhymes (or similar) and 4 (four) novels.
So here is a largely incomplete list of these bold rhymes hens on the run from books, with links to images of their migrations.

  • on the walls: of an obstetrics clinic in Carpi, "illustrated" with Antonella Abbatiello (here the poem)
  • on the walls: in the pediatric ward of a hospital in Cagliari, where the Farfalla and Maremé books have been spread
  • on the walls: of 6000 apartment buildings in Bologna, where the posters of the Civil City have been posted
  • on the walls: of a small square in Albissola Marina (SV), where in the past children were forbidden to play
  • in museums: for example in the illustrious Capitoline Museums in Rome (here with Antonella Abbatiello and Bernard Friot), in March 2012
  • on web pages: as on the official page of the Born to Read
  • in newspapers: like those on l'Unità, every three days from March 2010 to March 2011
  • in newspapers: like those that appeared on the Mamme de channel from 8 May 2012
  • in newspapers: such as those that since September 2012 appear in Pupù, the Sunday insert for children of the newspaper "Pubblico" (now disappeared)
  • in newspapers: like the one on Alzheimer's published in Corriere della Sera's "Reading" on 20 August 2017
  • on magazines for children: like Giulio Coniglio since April 2006 and GBaby since February 2011
  • in ballets: as Mamma Lingua in Ballet, represented by the Piccola Stella dance school, in Cagliari on June 9, 2012
  • in spectacular events: here is one (video and text) among the many written in six years of the Tuttestorie Festival
  • in opinion campaigns: in this video that appeared in Repubblica, produced by the Milanese cooperative Terrenuova onlus
  • on TV: 464 nursery rhymes written for Melevisione here is one on video (here the text, and here the index of the other 463)
  • in the songs (music on rhymes): 70 written for Melevisione here one in video (here the text, and here the index of the other 69)
  • in the songs (music on rhymes): the text of the illustrated book Maremè set to music and sung by Rock'n Radio Social Sound of Florence
  • in the songs (music on rhymes): the poem Bad luck of toys, from Rime di Rabbia, set to music and sung by Ugo Ferrari
  • in the songs (music on rhymes): other dozen of my nursery rhymes set to music and sung by dozens of other musicians
  • in the songs (rhymes on music): the Hymn of Courage and the other Canti di Tuttestorie, finally written about music (not the other way around) by Antonello Murgia
  • in cartoons: like this one again drawn from Maremè by two students of the CSC of Turin
  • in RHYMES OF OCCASION: for weddings, libraries, retirements, inaugurations, elections and a thousand other people's needs
  • on snacks: like those of the Coop with nursery rhyme gadgets (later migrated to the Feeding Children website)
  • on olive oil bottles: like this one from Masseria Corleto, which has published the Filastrocca dell'Olio on its labels
  • on birth announcements: like this one, found in a meeting with a school of the Marcelline Sisters of Foggia
  • on birth announcements: like this one, made for his daughter Valentina by the booksellers of the Hamelin bookshop in Bitonto
  • on birth announcements: or this one, embroidered by an Apulian school principal
  • on the wedding announcements: like this one, a popup created by the artisan workshop "Dacosanascecosa" of Foggia
  • on the Christmas greetings of the deputy mayor of Bologna: here are those of 2017
  • on sites for abused children: like this one, built by the neuropsychiatrists of the TIAMA Center
  • on t-shirts: the one found around who knows where by Giorgio Scaramuzzino
  • on the t-shirts: that of Emma, ​​which years ago had been printed for a meeting in Foggia
  • on t-shirts: one of the many at the Tuttestorie Festival in Cagliari
  • on the facades of the schools: here is the banner hanging at the entrance of the primary school in Magione (PG)
  • in festival signs: like this one, which appeared at the entrance (and on the T-shirts) of the 56th Bergamo Booksellers Fair
  • in picnic blankets: like this one, affixed as a tapestry in the Festival "The Valley of Children's Books"
  • in NPL gift boxes: like this one, filled with books and offered to all the children of Umbria by the Born to Read in that region
  • as well as, of course, on this site, which now has 250 visits a day, and where many read and download
  • and then elsewhere, they will know where.
  • In other places, however, I have not let them go: for example in advertising. Rime Hens escaping from the chicken coop of books.
    Good for them: let them swarm where they should and can. Something will remain.

    They send postcards

    Every now and then I get some sign of return. From the many unknown lands they go to, they send postcards.
    Here is what the teacher Anna says about it (from the Guest Book): Date: 11/13/2011, 9:26 pm
    Name: Anna
    Number: 950

    Dear Bruno,
    in your observation of the flight of hens rhymes from the bookish henhouse, in addition to the usual poetic and ironic reading of what happens to you, I also seem to grasp a certain displeasure.
    But we know that eggs from hens raised on the ground and left free to scratch around are tastier! And here I am thinking of elsewhere, of the secret and hidden places where your nocks have fled, sowing eggs here and there that in due time have hatched / will hatch:
    - in the memory drawers of teachers and mothers and librarians, who always carry them with them by dint of reading and reciting them
    - in the ears of small and large children who, receiving them as gifts from adult voices, then learned to give them to themselves
    - in the hearts and ears and in the voices of those children who freely fill sheets of poems at school for play, to read them to the teacher or to their classmates
    - in the pc folders of the readers of this site, who sometimes save them, put them aside for a future occasion ("I can think of a Tognolini rhyme that would be suitable, wait, I look, I have it right here." )
    As for the presence of your books in the canonical places, Dear Illustrious Poet Heir, made me think, in my small way, that not all of them are in my personal library. After years in which your nursery rhymes and your articles have nourished me sufficiently, I enjoyed "Lilim of the sunset" only this summer (reading particularly suited to the sun and sea of ​​Sardinia that served as a side dish) and I believe that I will also reach the others , but slowly, like when you eat ice cream so good that you don't want to eat anything for a while to keep its flavor intact and for a long time. And if I like to read the nursery rhymes and reread them and repeat them from your other writings, I like to know that I always have some more to discover.

    Exercise ejaculatory mantra

    In my journey as a reader of verses and listener of songs I have met, like everyone else, some pearls, which for years and years I have read and reread, listened to and listened to again. For the sheer pleasure of doing it, of course. Some of these pearls are "in voice": verses and passages of different nature spoken by voices of different intentions and origins.
    These passages - together with dozens of others of which I have news, and hundreds of which I have none - are groundwater which, carrying salts, pigments and mysteries, irrigates the earth from which the verses I write are born. Verses that, of course, do not resemble those passages any more than a flower resembles water and the pigments it takes from the earth.
    Since I understood this of those beloved passages, I have continued to read and reread them (if I only have the text) and listen to them and listen to them again (if I also have them in audio), with a different intention: calling them to myself. exercise ejaculatory mantra.
    A sound application that can be connected to Facebook, which I recently discovered, gave me the inspiration to share some of them. And here they are.

  • Travel invitation
  • The Ballad of Beautiful Words
  • Those are pearls
  • And lucky love haunts me
  • Walking and falling
  • Litany

    The correspondence with Tullio De Mauro

    In March 2012 Silvana Loiero, valiant head of the primary schools of San Lazzaro di Savena (for her I had written this story of gratitude in l'Unità), presented me with a request as a second-hand poet that left me both flattered and frightened. : a nursery rhyme for Tullio De Mauro's eighty years. The linguist would have been celebrated "by surprise" at the end of the annual GISCEL National Convention (Intervention and Study Group in the Field of Linguistic Education), in Reggio Emilia on 12 April 2012.
    So a nursery rhyme for De Mauro? For the Superior Custos of Italian words? I?
    I was very worried about the task, as it always should be: but I also knew that when I sit at my desk, the Mother Pasta of the idea falls down, and if the hands begin to take their tools to work it, then the wrists they also stop shaking.
    So it was again this time: I sat down, wrote, let it rest, rewritten, filed and plastered, sent for examination, corrected according to advice, restored as I said, in short, I did my usual job as a Jones player.
    And here's what, on the night of that April 12, after the final dinner of the conference, De Mauro was read by a "giscellina" who was also an actress.


    For the linguist's birthday, celebrated at the GISCEL National Conference, Intervention and Study Group in the Field of Linguistic Education, in Reggio Emilia on 12 April 2012

    Grammatic gnome, shepherd of words
    That you watched over their transhumance
    In the steppes of the streets and schools
    In the tangle of roots and endings
    In getting corrupted, in growing stupendous
    Now listen: something is changing
    The mother tongue is now the wife language
    His names are breads on the tables
    An Italian of stones and leaves
    His words become few and immense
    They know what things are called
    Why do they come, who were lost
    So that they go and come back precious
    So thank you for keeping them
    Count them again, until the last one arrives
    Mouths die
    The language is alive

    The nursery rhyme immediately became, according to the holy custom of work, the 86th on the shelf of my RIME D'OCCASIONE.

    During the night Silvana Loiero, via Facebook, had already told me that the Professor had appreciated, had been moved.
    The next day I found this letter in my e-mail.

    From: Tullio De Mauro
    To: [email protected]
    Sent: Saturday, April 14, 2012 7:54 PM
    Subject: nursery rhyme and nursery rhymes

    Dear Tognolini, among many waves of affection last night I was also overwhelmed by the arrival and reading of your wave.
    The nursery rhyme struck me and moved me not only for how affectionate and kind it is towards me, but because it says well what I would like everyone to think and hear of our words.
    But, then, I went to see and review other nursery rhymes on your site and more than one equalized and surpassed the one you dedicated to me!
    Can I say they equal the best Rodari?
    Thanks, therefore, with much affection and admiration, Tullio De Mauro
    Needless to say, how proud and happy I was with this letter. To which I replied the next day, to try to explain to the "Grammatic Gnome" where the affection he had caught behind my verses came from.

    From: Bruno Tognolini
    To: Tullio De Mauro
    Sent: Sunday, April 15, 2012 10:41 AM
    Subject: Re: nursery rhyme and nursery rhymes

    (.) It is affection not so much or not only for the Insigne Linguist, but for the Bottega Elder. Of the my shop.
    Behind that poem there are at least twelve years of daily use of the tools that you have made available to the writer. Those instruments that fix instruments, the tuning forks to tune the guitars.
    First the "paper", the blue and flowery tome of your Paravia dictionary. And then the digital De Mauro, on CD-rom.
    I am a computer geek poet, I have always had a happy familiarity with digital media. And your dictionary on CD-rom, for twelve years, thousands of times has been opened on my desktop (craftsman's desk), to help for many needs.
    The definition of the lemmas, among these, was paradoxically the least frequented: other elements of that precious toolbox, if they had wooden handles, would now be hard and shiny for use. (.)
    Below I listed some forms of this assiduous use: legitimate confidences with a Bottega Elder, but improper and boring for the readers.
    And here is De Mauro's reply, who closed these brief and for me bright correspondence.

    From: Tullio De Mauro
    To: Bruno Tognolini
    Sent: Sunday, April 15, 2012 11:26 AM
    Subject: Re: nursery rhyme and nursery rhymes

    (.) But here is also my renewed thanks for what he says to me as an artist (in the oldest as well as in the most recent sense) of the word and of the words and which compensates for the tedious efforts of lining up lexicographic cards and counting occurrences of words. With much sympathy and much affection, Tullio De Mauro

  • I have written in over thirty years 1400 RHYME COMPONENTS (at the time of writing this note: maybe when you read it there will be more). Most are published in many books by many publishers. To each book this site dedicates a rich page of comments, notes, presentations, and tastings of texts and illustrations. Five to ten nursery rhymes for each book can therefore be read here on the site: no more, out of respect for the job of publishers, let's say how many would be read standing in the bookstore, to decide whether to buy the entire book.
  • The case of the OPPORTUNITY RHYMES, written over decades for those who asked me, and still ask me. Many of those too end up printed in books (Rime Raminghe and Rime Rimedio, Salani). But because they were asked of me by the people, and written for them, and they belong to them ("The poetry no es de quién la escribe, sino de quién la necesita", Pablo Neruda), all the Rhymes of Occasion are available for reading here on the site, available to those who want to download, print and use them, for a wedding, for a birthday, for the retirement of a teacher, or because they like them. .
  • Finally, here are the nursery rhymes composed for the television program for children "THE MELEVISION". Of the 470 written in eleven years, 275 were published by Gallucci Editore: 160 in the book Filastrocche della Melevisione, and 115 others in the two books Rhymes of doing and not doing and Rhymes of fairy tale and reality. Also of these nursery rhymes in the page of the site that presents the first of the three books some samples of texts and illustrations are given.
  • Here, however, I want to publish two special nursery rhymes, written for Melevissione, which have proved to be very popular over the years. Here they are, available to everyone.

    Dear grandfather, so many days have passed
    I waited and realized that you are not coming back
    They put you like a seed in a beautiful garden
    I thought about it and realized that you are dead
    I would like to get you back, but I can't
    In my heart the pain has made a ditch
    In that ditch I buried you like a seed
    And to water you well, I cried a lot
    Spring has come and you have blossomed
    When the crying in my eyes was over
    Now it's May and now I don't cry anymore
    Blue lilies are blooming in your garden
    And I still don't see you, but now I know why
    I don't see you because you are inside me


    "Help, I'm changing! - said the ice
    I'm turning into water, how do I do it?
    Water that escapes in its trickle!
    There are drops, there is no me! "
    But the sun said, "Calm your thoughts
    The world changes under my rays
    You hold tight to what you were
    And then let yourself go to what you are "
    That ice became a river of silver
    He was no longer afraid to change
    And one day he said: "The salt that I feel
    He tells me that I am becoming the sea
    Let there be the sea. Because I understand now
    I don't change into something else, but into myself "

    For the loyal readers of LILIM DEL SUNSET, and for everyone.

    Anyone who can and wants - listening in streaming or downloading two MP3 audio files of about 5 MB each - will be able to hear Gabriella Caramore talking about the novel LILIM DEL TRAMONTO, and the actor Danilo De Girolamo reading two selected passages. The contribution was broadcast on Saturday 26 December 2009 of the Radio Tre program UOMINI E PROFETI .

    MEN AND PROPHETS is one of the jewels of Radio Tre, a luminous space for speech where rabbis, imams, seraphic friars and spirited prelates, historians and pastors and theologians and mystics have personally guided me for years to "look at the world through the eyes of faiths and faiths with the eyes of the world ". Also, or perhaps especially for an unbeliever, it is an open window on the boundless realm of the spirit, most blessed at a time when men, grim Saracens and highly civilized Europeans, are once again arming their gods like crude war puppets.
    Gabriella Caramore, curator and presenter of the program, has always been an example in my eyes, in my ears her deep and cultured voice, surprisingly serene and vast, a comfort. Well: one day, last September, at the end of one of his lectures at the Seneghe poetry festival, I took courage in both hands and faced the annoying figure, which as far as I can avoid, of the writer who administers one of his books: I put LILIM DEL SUNSET in her hands, complete with a dedication and telephone number. There was one reason: Lilim's story owes something of its light to that window on faiths and the world, I wanted to reflect her a glimpse of the visions she may have helped to open, and I was "almost" certain that it would be appreciated. Not entirely surprised, but very happy, I was therefore when Gabriella telephoned me some time later, praising me for the book and saying that she would mention it in her program for Christmas.
    Saturday 26 December Gabriella Caramore told us about her reading of LILIM DEL SUNSET, and the actor DaniloDe Girolamo read two passages, chosen by Caramore herself. In the podcast of the program, the episode can be listened to in its entirety for a limited period of time. Here below, however, can be listened to in streaming or downloaded in MP3, divided into two tracks for the convenience of downloading, the only part of the program that concerns the novel. SUNSET LILIM TO MEN AND PROPHETS - First part (4.30 MB)
    SUNSET LILIM TO MEN AND PROPHETS - Second part (5.68 MB) It is obviously not one of those "passages in the media" that are hunted down by the press offices of publishers and literary agents, far from it. We would have been seven, let's say seventy times seven, that day listening: but for me it is a kind of assumption in heaven of enlightened laity who look with infinite love and respect to the world of the spirit.

    The Melevision

    From "La Melevisione" you can read on this site a series of informative materials (projects, presentations, historical files, descriptions of the structure, characters, environments, index of the "Bible" etc.) and a choice of ladders and scripts from 1999 to 2010: only a few for each vintage, few tastings, because those texts belong to RAI and cannot be published in full and only my texts because this is my site, but there are seven times as many written by the other seven authors.

    For complete and in-depth information on the program, I refer you to the "MELEVISION" VOICE OF WIKIPEDIA, edited with incredible passion and skill by an elderly retired history professor. Honor to grandparents.

    After the 2010 edition, troubled by strong controversies (see Facebook Group "Salviamo il Fantabosco"), the writing for the 2011 edition, reduced to 45 episodes and no longer broadcast on RAI TRE but on the thematic channel RAI YOYO.
    Reduced and compressed, of course, due to the great delay in the start of production, in turn due to the blocking of RAI appointments. In the past years we authors began to write our 130 episodes in September, to go on the air with the first ones in November: this year 45 are written, to go to the studio to record in April and in oda who knows, maybe at the end of May. In the meantime they will continue to be broadcast on the Rai Yoyo digital thematic channel, for the regions that receive it, three reruns a day from the old editions, at 8:30 am, 11:30 am and 4:35 pm.

    They tell us that next year 2012, starting from September, will try to return to the 130 new annual episodes. For this 2011 the new 45 episodes will bring the total to 1750 episodes from 18/01/99 to December 2011.

    "La Melevisione", a television program for children broadcast every day on RAITRE in the afternoon, is known and loved by its audience, children aged 4 to 8, but also - as it turns out - by their older brothers, mothers and fathers, grandparents and aunts.
    It is a work of long, very long breath: from January 1999 to May 2009, over 1500 original episodes will have been written and filmed. But many more aired in the summers in the form of reruns.
    It was born in 1999 from an idea of ​​MELA CECCHI (author of "L'Albero Azzurro" for eleven years) and mine. After the idea, however, we move on to the laborious fabrication of the world: in the 100 episodes of the first year the two authors (here they are in a photo with Tonio Cartonio) have traced shapes, borders, language, inhabitants, laws, uses and customs of that world.
    Since everything seemed to be going very well, RAI offered us for the second year, 2000-2001, no longer 100 but 180 episodes. There were too many for just two authors, from every point of view: we would have been too tired and too rich to write well. Crying to "work less, work everyone", we called IANNA CARIOLI, MARTINA FORTI and VENCESLAO CEMBALO with us (and here they are all four: from left Mela, Martina, Venceslao and Ianna).
    In 2005 the five authors, tired and eager to introduce new ideas, called in two other reinforcements: LUISA MATTIA joined the team (already author for a year of the editing episodes "Il Giornale del Fantabosco", broadcast on Saturday) and LORENZA CINGOLI (author for many years of "L'Albero Azzurro"). The following year, in 2006, Mela Cecchi, founding ancestor, leaves the crew out of happy tiredness and an even happier desire to write other stories: LUCIA FRANCHITTI, already an expert reader and editor of our scripts for years, enters the studies through the same door. RAI of Turin.

    "WE GROWN THERE" (same story, better told)
    Here is the historical file I wrote for the press kit of Melevisione's 10th birthday. Melevisione was born well from the beginning, a birth of love. In the summer of '98, the director of Rai Tre Francesco Pinto asked Mela Cecchi to invent a new container program for children, in complete freedom but if possible reusing the scenography of a wood, almost new from a previous program. Need sharpens ingenuity, Need and Ingenuity in Greek are called Penìa and Poros, and they are the parents of Amore: the loving idea of ​​a Fairy-tale Wood was born where a Kiosk stands, in which a Goblin mixes Exquisite Drinks to a funny company of characters, who meet there to refresh themselves from the fatigue of the fairy tale.

    Mela Cecchi called Bruno Tognolini to work, the format and the guidelines of the program were drawn up: the schedule, the linguistic modalities, the characters, the places. The head of the structure Roberto Nepote, who had strongly wanted the undertaking, placed Mussi Bollini at the helm and the ship set sail in the stern. The auditions were made, the company was formed, we entered the studio. On January 18, 1999, episode number 1, "With the card you can" aired. Witches, fairies, orcs, wolves, princes and princesses, gnomes and geniuses had found an unthinkable fairy tale nest on TV.

    Tonio Cartonio, first elf conductor, big brother of the spectator child, talked to him eye to eye, helping him to mirror the problems, discoveries and fears of real life in "Città Laggiù" in the frenzied events of fiction. The old millennial task of the fairy tale, which is a mirror of understanding of reality, was renewed with new means.

    Years passed. Already from the second, other authors came to lend a hand in writing the 160 annual scripts: Janna Carioli, Martina Forti and Venceslao Cembalo. Maurizio Zecchin, the set designer, began the titanic construction of enchanted worlds that he still works on today. The colorful and impetuous direction of Pierluigi Pantini was followed, in 2002, by the more profound and sophisticated one by Roberto Valentini. The episodes were written and made with two simple strengths: the mastery of children's writers, and the "widespread parenting" of those who only tell stories they could tell their children. It worked: Italian parents gave birth to a specular trust in the program, to which they entrusted their children "as if they were with them".

    The program grew so much that soon, like the children it was aimed at, it no longer stayed inside the clothes. The cartoons bought all over Europe were as good as the fruit from which Melevisione seemed to squeeze them, but the story of the episode, the part written and shot and produced in Rai, was strengthened, leafy, struggled to stay within the task of launching animated stories , she wanted to become history. Mussi Bollini courageously accepted this demand for growth and took the step: in 2003 the cartoons were extracted from the program, the Melevisione "sitcom" was born, a unique and fluid story of 25 minutes.

    Since then the directors have changed, Enza Carpignano, Alfredo Franco, Rossella De Bonis, bringing lighter or darker signs, quicker or quieter in the acting, in the shooting, in the editing. The actors have changed, Orcs and Witches and Geniuses have come and gone, Tonio Cartonio, an empathic brother, has given way to Milo Cotogno, a nice friend. New authors have joined the team, Luisa Mattia, Lorenza Cingoli, Lucia Franchitti, bringing new colored threads in the intertwining of themes and stories.

    Melevisione is 10 years old and has over 1600 episodes, it has grown up: now it has wider shoulders and faster legs. Perhaps the larger the vicissitudes, the funny and dramatic intertwining of the events, perhaps the quicker - or just more embodied in the story - the informative, educational, encyclopedic plot. But always the same is the deep taste of fruit, of natural vitamins for the minds: that is, of happy and profound stories told by adults who know how to tell their children, so that they grow well.

    Ten years of Melevisione, in fact, also mean this: meeting eighteen-year-olds who look at you with a smile up to their ears when you say "We raised you".

    Meetings with readers

      As stated in the Page of upcoming events, dating is a large part of my job.

    Teachers, managers, librarians, booksellers, all event promoters who wish to invite me for meetings with children or adults
    they can contact me by writing a message on the GUEST BOOK .
    I will reply, and continue the relationship by email.

    Before doing so, however, it is important that they consult the.

    . where they can get a precise idea of costs, free dates, contents, durations, number of participants, and all you need to know before contacting me.


    Since poetic transhumance is now half of my work, I undertake some "seasonal" breaks between meetings (for example those of January and February), as well as in the construction of new books, in the preparation of NEW MASTER CLASSES: specialist meetings for adults (teachers, university students, librarians, booksellers, vast and varied people of literature), and some for middle and high schools, with a flowery set of texts, images, audio and video, deployed in Powerpoint or launched freehand.

    Here, in the Information page of the meetings, concise descriptions, with technical data and costs.
    And below five detailed and illustrated cards, also to be used as information leaflets for users.

      1 . THE BIRD WITH THREE WINGS. On poems and nursery rhymes
      2 . PROSA SAYS, POETRY DOES. On poetry outside the books (adults and middle and high schools)
      3 . PINOCCHIA LANGUAGE. On the Italian language of children's books
      4 . PAINTER, I WANT TO TALK TO YOU. On the relationship between writer and illustrator
      5 . PATRONS, MANGIAFUOCHI AND MEFISTOFELI. On the relationship between writer and market (adults and middle and high schools)

    Biographical cards and photos

    Below, scrolling down, the UPDATED BIOGRAPHICAL NOTES, to be copied and pasted .
    They are not standard curricula in the forms approved by Europe, but they are written by someone who writes for a living, and for the realms I frequent they will suffice. When I put them on this site, back in '97, it seemed like a gascon: for quite a while, however, it has been normal, useful and practical. Often just waiting.

    Organizers, event promoters, librarians, teachers and anyone who needs them for work, instead of strenuous requests and expeditions, you can immediately copy and paste yourself small biographical notes of different "sizes" (already prepared in number of bars) and different tone (classic or light) or download a bio-bibliographic card paginated in PDF and ready to print or some photo in different JPG resolutions.

    Elsewhere, in other pages of this site, those wishing to deepen my distant beginnings will be able to find an ancient detailed biography and for a long time not updated: complete with regard to the distant past of my work, studies and training, the decade of work in the theater, the few years of digital media and very little cinema but stops many years ago for television and especially books, which are the present, and that other sections of the site report in great detail.

    To download for use in documentation and promotion of publications and events (programs, brochures, etc.)

    HERE THE BIO-BIBLIOGRAPHIC CARD, to be downloaded in RTF format is in PDF format
    Short biographical notes and complete bibliography (55 titles published so far). PRESENTATION AND BIBLIOGRAPHY

    More extensive card with brief presentation by points, brief biographical note, discursive narration of the twenty-year work of meetings with readers, and complete bibliography lists. ----->


    500 characters, colloquial
    Bruno Tognolini is a writer "for children and their grown-ups", author of books (55 titles with major national publishers), TV (4 years Albero Azzurro and 11 Melevisione), theater, essays, songs and digital works. He is also a wandering poet, traveling around Italy for thirty years to meet children and adult readers. His very few novels have won beautiful prizes, his many nursery rhymes tour schools and homes in Italy, his books have sold in Italy, with Salani alone, over one hundred thousand copies.
    Other news and texts on and facebook / tognolini.b

    500 beats, light tone
    How do you learn to write for children? Studying Latin for eight years, Greek for five, medicine for four, show at DAMS for another four, writing theater for another twelve, TV with Albero Azzurro and Melevisione for another sixteen, in the meantime learning hundreds of verses of the great poets by heart, turning for schools in 800 cities, writing 1400 nursery rhymes, 55 books, and theater and songs and articles. In short: can an effort also be a dream?
    Other news and texts on and facebook / tognolini.b

    600 characters, classic style
    Bruno Tognolini was born in Cagliari, lives in Bologna, Lecce and travels in a thousand meetings with readers. After the DAMS and a decade of theater in the 80s (works with Vacis, Paolini, Baliani), he has been a writer for thirty years for love and profession "for children and their grown-ups". He has published 55 books with national publishers, poems (many) and novels (few but well awarded), television programs (4 years of Albero Azzurro and 12 of Melevisione), plays, essays, songs and other various happy narratives. His books have sold in Italy, with Salani alone, over one hundred thousand copies.
    Other news and texts on and facebook / tognolini.b

    800 characters, classic style
    Bruno Tognolini was born in Cagliari in '51 and lives a bit in Bologna, a bit in Lecce, and a bit on the go in the thousands of encounters with readers. After the DAMS in Bologna and a decade of theater in the 1980s (works with Vacis, Paolini, Baliani), he has been a writer for thirty years for love and profession "for children and their grown-ups". He has written poems, novels and short stories (55 titles with major national publishers), television programs (4 years of Albero Azzurro and 13 of Melevisione), plays, essays, video games (Nirvana X-rom, from Salvatores' film), songs and other narratives. he was awarded the Andersen Award in 2007 and 2011. His novel IL GIARDINO DEI MUSI ETERNI (Salani) is Book of the Year in Fahrenheit, finalist of the Strega Ragazzi Award, and LiBeR Best Book Award 2017. His books have sold in Italy, only with Salani, over one hundred thousand copies.
    Other news and texts on and facebook / tognolini.b

    1100 beats, light tone
    Bruno Tognolini was born in Cagliari in 1951. As a child he liked to read and make toys with sticks, nails and string. He started writing when he realized, as a reader, that stories were like those toys: he could build them himself. And so he became a children's writer, at forty, but not even he knows why: by chance, to tell stories to his daughter Angela, because in this way he could write in rhyme. who knows. He has written books, fifty-five since 1992, he has written texts for the Blue Tree and the Melevisione, theater and songs, video games and Rime d'Occasion for those who asked him. He has also won two Andersen Awards and is happy with his novel, THE GARDEN OF ETERNAL MUSI, is Book of the Year at Fahrenheit Radio Tre (first time of a children's book), finalist of the Strega Ragazzi Award, and winner of the LiBeR Award Best Book 2017, his books have sold in Italy, only with Salani, over one hundred thousand copies, and he is even happier: but he is always there bending over his sticks and strings of words, because the most beautiful story and rhyme is convinced, he has yet to build it.
    Other news and texts on and facebook / tognolini.b

    1400 characters, classic style
    Bruno Tognolini was born in Cagliari in '51, he graduated from the DAMS of Bologna in '79, and now, when he is not traveling for the thousand meetings with readers, he lives a little in Bologna and a little in Lecce. After the long years of the theater (dramaturgies with Vacis, Paolini, Baliani), he now works full time as a writer "for children and their grown-ups". On television for four years he was among the authors of "L'Albero Azzurro" and with Mela Cecchi was the creator and for eleven years among the authors of "La Melevisione" (RAI). He is the author of plays, multimedia works (such as "Nirvana X-ROM", adventure game from the film by G. Salvatores), songs (for Melevisione, for the film "Storia di una gabbianella" by E. D'Alò, and others) wrote short stories and rhymes for magazines, books, for the most diverse uses and events (such as the 470 nursery rhymes written in 11 years of Melevisione). But his first and greatest love remain books: 55 titles from 1992 to today, novels, short stories and poems, published with the major Italian publishers. In addition to minor awards, he has twice won the Andersen Prize, in 2007 and 2011. His latest novel, THE GARDEN OF ETERNAL MUSI, is Book of the Year at Fahrenheit Radio Tre (first time of a children's book), a finalist of the Strega Ragazzi Award, and winner of the LiBeR Best Book Award 2017. With Salani alone, his titles have sold over one hundred thousand copies in Italy.
    Other news and texts on and facebook / tognolini.b

    1540 beats, light tone
    Bruno Tognolini was born under the great light of Sardinia. However, since that light was not enough, he set out to seek his fortune far away, on the continent full of roads and opportunities. He searched for many years, and while he was studying at the DAMS in Bologna, he invented and played and built in the basic theater, and always tried to write. One day, just out of his theater group and very afraid of not knowing how to do anything, he met the luck he was looking for: he was called to the RAI palace to write the lyrics for the children's program "L'Albero Azzurro". Fortunately they called him the first time, but not only fortunately the second and third and the others: evidently, even if it seemed not to him, he had learned something. From then on, in fact, he never stopped, and now he is proud to earn a living by writing rhymes and stories "for children and their grown-ups". He has written for TV (4 years of Albero Azzurro and 11 of Melevisione), he has written theater, songs, essays, hundreds of rhymes and second-hand stories for those who asked for them, he has written books, 55 titles from 1992 to today with major publishers Italians. Twice, in 2007 and 2011, he was awarded the Andersen Prize. In 2017 his latest novel, "THE ETERNAL MUSI GARDEN", ​​was Book of the Year in Fahrenheit (Radio Three - first time of a children's book), finalist of the Strega Ragazzi Award, and winner of the LiBeR Best Book Award 2017 And in short, in the end it was said: well, I learned.
    Other news and texts on and facebook / tognolini.b

    2260 characters, classic style
    Bruno Tognolini was born in Cagliari in 1951. Now he lives, when he is not around Italy in his thousands of meetings with readers, between Bologna and Lecce.
    After five years of classical high school and four of medicine on the island, his art training took place in Bologna: from the DAMS degree in Communications and Entertainment (thesis with Giuliano Scabia and Andrea Canevaro) to the long season of theater (1980 -1990), where he collaborated as a playwright with Marco Baliani, Marco Paolini, Gabriele Vacis, and other artists and groups of the "base" theater of those years.
    In '90 the range of his writings opened up from children's theater to television: for four years he was among the authors of the RAI program for children L'ALBERO AZZURRO, and from '99 he was the creator with Mela Cecchi and for 11 years co-author with others de LA MELEVISIONE, RAI's daily program for children.
    In '94, with a videogame produced by RAI and Philips on L'Albero Azzurro, he opens a short season as an author of digital media. He writes projects and texts for various multimedia and interactive works: including in '95 the CD-rom RIMELANDIA, with original nursery rhymes by himself and by Roberto Piumini (Mondadori) in '96 the adventure game NIRVANA X-ROM (Cecchi Gori), based on from the film "Nirvana" by G. Salvatores.
    In '98 a tangential encounter with the cinema: he wrote the initial nursery rhymes and the Italian lyrics of the songs for the film SORIA DI UNA GABBIANELLA by Enzo D'Alò.
    Good last in the list, but first in his predilection and incessant in his production, the books: 55 titles from '91 to today, novels, short stories and poems "for children, for children and for their grown-ups", published with Salani, Giunti, RCS, Gallucci, Panini, Il Beaver, Fatatrac, Topipittori, etc.
    Twice Andersen Prize, in 2007 and 2011. Elsa Morante Giovani Prize in 2008 with the novel LUNAMOONDA. The latest novel, THE GARDEN OF ETERNAL MUSI, is Book of the Year at Fahrenheit Radio Tre (first time of a children's book), finalist of the Strega Ragazzi Award, and winner of the LiBeR Best Book Award 2017. Only with Salani, the his titles have sold over one hundred thousand copies in Italy.
    Other news, photos, and above all a wide choice of published and unpublished texts, can be consulted online on its Home Page, at the address, and on the Facebook page tognolini.b

    Guest book

    Who wants to write me, tell me, ask me something, YOU CAN LEAVE A MESSAGE HERE, IN MY GUEST BOOK.
    But first please read this short note.

    The Guest Book is an important threshold for my work.
    There the schools, libraries and other institutions they make the first contacts for the meetings (the following ones follow via email).
    And there i readers they write me their comments, testimonials and thanks.

    Thousands and thousands of letters, available to anyone who wants to cast a glance from above on that boundless intricate forest that is the relationship of correspondence and conversation between a writer and the people of his readers. Only the letters I received will be found there, not my replies, which are just as many: even if it seems hard to believe, me I have always answered everyone. Those thousands of responses, often very similar to each other, were not recorded in the Guestbook, and therefore I was unable to convert and publish them. But I wouldn't have done it anyway, that's okay: what my readers have to say to me is more important than my answers.

    A few years ago however, since the messages of writers or aspirants, with requests for editorial indications, advice, readings and judgments on rhymes and texts, grew visibly, surpassing those of readers and of schools for the meetings, I had to run for cover. At the top of the Guest Book page you will find this premise:
    Unfortunately it is no longer possible for me to reply to everyone.
    And above all, read manuscripts and give writing advice.

    The first of the two statements is not true: in reality I continue to answer everyone.
    The second alas yes. Leaving to one LETTER TO THE ASPIRING WRITERS the task of explaining and apologizing better, I confirm: I will be happy and grateful if I find in my Guest Book, as well as calls to meetings with readers, greetings, opinions, personal thoughts. But I am no longer able, unfortunately, to answer those who ask me to read his works.


    For known reasons, I don't want to leave my current email address out here exposed to spamming, fishing, mass mailing and similar harassment.
    Anyone who wants to communicate with me, for work or otherwise, can leave me a message in the GUEST BOOK. Each new message entered will be notified to me with an e-mail. As long as I can, and with the reservations and pleas set out above, I try to respond to most of the messages that appear on the Guestbook.

    Who did not receive an answer after a reasonable number of days, and have reason instead of waiting for it, make sure you have typed in your e-mail address correctly: I have repeatedly written replies that came back because they were addressed to "strangers". If necessary, write another message with the correct address.

    I have helped dozens of students who filled out thesis or research, on Melevisione or on my books or otherwise, with telephone or face-to-face interviews, and in some cases with shipments of materials that were not commercially available or downloadable from the site. Within the time I have available, I will do it again.

    Search the site

    This is a vast and intricate site, filled with rooms like a Borges library. If you do not find a certain nursery rhyme, a certain book, a certain article by browsing the indexes room by room, enter in the box below one or more words that can help Google search for it (for example "nursery rhyme of the teachers", "it depends on how you hug me "," Festival Tuttestorie ", etc.). The search engine will take you to the pages where those words are contained, and where you can locate them using the browser's "Find on page" function.

    From 1997 to 2007 this site received about 120,000 visits,
    counted by different counters over the years.

    This page was updated on March 2, 2021
    Work in perpetual progress

    In the land of wild monsters

    In the land of wild monsters - Wikipeds

    1. In the land of wild monsters (Where the Wild Things Are) is an illustrated book for children, written by Maurice Sendak and published by Harper & Row in 1963 .. The book tells the imaginary adventures of a child named Max. Throughout the story , the protagonist meets the wild monsters that give the novel its title (Wild Things in the original version)
    2. In the land of wild monsters is a book by Maurice Sendak published by Adelphi in the series I cavoli a merenda: buy on IBS for € 18.00
    3. Maurice Sendak's In The Land of Wild Monsters is one of those literary masterpieces that everyone should know
    4. Description and plot. In the land of wild monsters it is considered a classic of children's literature. Awarded with numerous awards and inspiring muse from which a film, songs and several plays have been drawn, Sendak's book is appreciated by children (and adults) from a large part of the world. The plot is not particularly complex: Max, a lively and boisterous kid.
    5. In the land of wild monsters: a classic for children. Today I want to tell you about my discovery of a classic for children, a true classic because it already existed when I was a child! E 'In the land of wild monsters by Maurice Sendak, published in 1963 and discovered by me only 50 years later
    6. A masterpiece to have, perhaps in combination with a small piece of cloth with a hinged mouth: ours, the accompanying illustrative booklet said, eats all the anger and fears P.S. here a hint gods celebrations that took place last year. Incountrygodsmonsterssavages Maurice Sendak-Antonio Porta (translator) 44 pagin If playback doesn't begin shortly, try restarting your device. You're signed out. Videos you watch may be added to the TV's watch history and influence TV recommendations. To. The land of wild monsters. Readings from 4 years old. This story will not stop striking the imagination of readers and listeners as it has from 1963 to today. Maybe it's just a matter of time, to get the ear used to new sounds and sensations. maybe

    In the land of wild monsters - Maurice Sendak - Book

    In the land of wild monsters, Book by Maurice Sendak. Free shipping for orders over 25 euros. Buy it on! Published by Babalibri, hardcover, January 1999, 9788883620072 Discover In the land of wild monsters by Sendak, Maurice, Topi, Lisa: free shipping for Prime customers and for orders from € 29 shipped by Amazon In the closed room, it starts to grow a very high forest, a sea is formed and a boat jumps out of nowhere with which our hero takes off and reaches, after a long navigation, to the land of wild monsters, bestial creatures with sharp teeth and hideous claws

    In the land of wild monsters. The crossed out price of Italian books corresponds to the cover price. Libraccio's English books are of American or English provenance. Libraccio receives the products daily from the USA and Great Britain, paying the costs of importing, shipping to Italy etc. In the land of wild monsters 17 January 2019 29 October 2020 Chiara Costantini 5-7 years, illustrated books, chiara costantini, classics, from 3 years, teaching of reading, parents, parenting, reading, reading, monsters, primary school After reading the book In the land of wild monsters by Maurice Sendak we invite you to leave us a review below: it will be useful for users who have not yet read this book and who want to have the opinions of others. The opinion on a book is very subjective and for this reason reading any negative reviews will not have to stop us from buying, rather it will have to push us to.

    In the land of wild monsters: an exhilarating journey inside

    From the forest you reach the sea and through the sea Max arrives in the land of wild monsters where, unleashing an uproar, he is recognized as king as the most wild monster of all. And in the meantime the illustrations have progressively expanded so as to entirely occupy the two side-by-side pages for a sequence of three page turns In the land of wild creatures (Where the Wild Things Are) - A film by Spike Jonze. A very difficult adaptation made a missed masterpiece by too many voices. With Max Records, Catherine Keener, Mark Ruffalo, Lauren Ambrose, Chris Cooper, James Gandolfini. Fantastic, USA, 2009. Duration 101 min. Tips for watching Movies for all I know a book called 'In the land of wild monsters' where the protagonist of the story, Max, really does it: he takes a boat and leaves even if he is a child. Today I would like to tell you the story of Max and how its author, Maurice Sendak conceived and wrote it In the land of wild monsters. Ediz. illustrata (Italian) Paperback - January 1, 1999 by Maurice Sendak (Author) ›Visit Maurice Sendak's page on Amazon. Check out all the books, read author information, and more. Results of. In the land of wild monsters is a book (and several film adaptations including the unforgettable 2009 one with the voice of Karen O) that brings back to childhood, which tickles the desire to live new adventures and not be so afraid to take a Our every choice, wherever it takes us, will have something to teach us to make us a little bigger

    In the land of wild monsters - Spulcialibr

    by Lorenzo Alunni 29 January 2018 Back, in a new translation, In the land of wild monsters by Maurice Sendak. Maurice Sendak's masterpiece In the land of wild monsters, from 1963, has finally returned to Italian bookstores. The first Italian edition was published in 1981 for the Emme editions, and then in 1999 for Babalibri In the land of wild monsters it is also literature. It is an enigmatic tale, which mixes realism and dreams, managing like few other things to convey the sense of childhood. It is a story that makes gaps, and therefore the possibility of being interpreted on many levels, a strength

    In Camille Jourdy's village of Veramiglie, he amazed, amazed, amused, involved me. It made me forget the world around me. And it made me remember why in children's publishing I love the French so much. In the land of the Veramiglie by Camille Jourdy recalls the mechanism of In the land of wild monsters by Maurice Sendak In the land of wild monsters, Book by Maurice Sendak. 5% discount and free shipping for orders over 25 euros. Buy it on! Published by Adelphi, I cavoli a merenda series, hardcover, April 2018, 9788845932038. Removal from the showcase. Motivation: The entry on the novel In the land of wild monsters is currently unsuitable for the gold star. I affixed the Doubt quality on October 15 and to date no improvement has been made An article of mine that appeared yesterday in the Sunday insert of Il Sole 24ore about a discovery I made on the sources of In the country of wild monsters of Sendak. After months of unsuccessful attempts to obtain permission from Sendak's lawyers (who hold the worldwide rights) to reproduce the master's images, the article came out anyway: without the illustrations

    In the land of wild monsters Books for 3 year olds

    Wild Monsters was made at night by Capalb. On this site we use our or third-party tools that store small files (cookies) on your device It should have been called, originally, "In the land of wild horses", but when it came to drawing Sendak noticed that the coven of monsters he had thought from the beginning it had nothing equine, while it resembled, and a lot, to his immense Jewish family, as the little Sendak had known it in various feasts of his childhood

    In the Land of Wild Monsters is simply a perfect book. Every detail, starting from the cover, to continue with the endpapers and with every single internal page, is thought of in the words, in the images, in their position on the page and in the relationship between all the parts In the land of wild monsters. Maurice Sendak. Language: Italian picture books extraordinary stories for 4 years. Max, locked up in his bedroom for exaggerating his games, sets out on an adventurous journey into the land of wild monsters until he feels homesick. Original title. Where the wild things are In the land of wild monsters. From 4 years old Maurice Sendak. All parents know this: inside every child there is a wild monster. It pops out suddenly and out of the blue while you're cooking, getting ready to go out, watching tv you find yourself dealing with this scary creature that screams showing you sharp teeth and claws. Panicked you don't know what to do In the land of monsters wild, a fantastic adventure in the child's mind. In the land of wild monsters is the story of little Max who, like many of his peers, has fun within the walls of his home wearing a carnival-like wolf costume and jumping here and there as if it were really a wild fair In the land of wild monsters . Tribute to Maurice Sendak Published in the early 1960s, In the land of wild monsters is one of those titles that are worth reading to children at least once. It is considered the most important work of Maurice Bernard Sendak, writer and illustrator of Polish origin born in New York on 10 June 1928 and died on 8 May 2012

    Maurice Sendak, In the land of wild monsters, Babalibr

    In the land of wild monsters. Jul 31, 2017. A masterpiece of childhood literature to help us understand anger. We have all been, at least once in our lifetime, to the 'Land of Wild Monsters'. It is the goal that is reached when anger takes over, when you lose control to the point that reality. I'm doing a research on monsters for an exhibition I was invited to participate in, which will see 50 Italian illustrators interpret the monsters from Maurice Sendak's album: In the land of wild monsters album which this year celebrates 50 years from its publication. exhibition will be open in Turin, from 9 to 23 May, at the Sandretto Re Rebaudengo Foundation In the country of wild creatures (Where the Wild Things Are) is a 2009 film directed by Spike Jonze .. Written by the director himself together with the writer Dave Eggers, the film is a film adaptation of Maurice Sendak's illustrated book In the Land of Wild Monsters. The film was originally intended to be distributed by Universal Pictures, but disagreements between it and the director. DESCRIPTION. In the land of wild monsters. Author: Sendak Maurice Title: In the land of wild monsters Publisher: Adelphi Pages: 44 Isbn: 9788845932038 ATTENTION in rare cases the image of the product may differ from that shown in the advertisement. This little book has a long and curious history. It should have been called, originally, "In the Land of Wild Horses," but for the time being.

    In 2003 he received the first Astrid Lindgren Memorial Award, an international award. A country full of unbridled life, of wild laughter. A country that seems to live between the pages and that dismisses Max when he has grown up. Where the Wild Things are - In the land of wild monsters - Maurice Sendak. Since 1963, the year in which it was first published, Where the Wild Things are has become a Maurice Sendak's In the Land of Wild Monsters, one of the classics of children's literature, this year will celebrate its fiftieth anniversary at the Turin book fair and will be the protagonist of the Bookstock Village program for children up to 14 years of age. Along with it will be authors of other wild stories such as Aidan Chambers and Anne Fine, appreciated by readers of.

    In the land of wild monsters - Maurice Sendak - YouTub

    • In the land of wild monsters, the book. The illustrated children's masterpiece that captured Spike Jonze's imagination
    • To argue my thesis I decided to use the extraordinary strength of an exemplary book: In the land of wild monsters by the great Maurice Sendak. In the land of wild monsters it is not only a masterpiece of perfection, but it is also the forerunner of many famous books, among which certainly Che rabbia
    • In the land of wild monsters Milan, Adelphi, 2018, 44, € 18.00. Buy the Notebook. Figurative arts Literature Children's literature. Notebook 4077. Share. Share Tweet «CATHOLIC CIVILIZATION» IN CHINESE. of La Civiltà Cattolica. From notebook 4077. Share. Share Tweet. THE MARSHAL PLAN
    • In the Land of Wild Monsters, by Maurice Sendak ed. Babalibri 1999 There is no doubt that the wildest of wild stories is In the Land of Wild Monsters, a classic of children's literature by Maurice Sendak, a much loved and much discussed American Jewish author and illustrator.
    • he Jewish family, as little Sendak had it.
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    IN THE LAND OF THE WILD MONSTERS.In the land of wild monsters, published by Adelphi, is back in bookstores, from January 16, 2018. Written by by Maurice Sendak and published by Harper & Row in 1963, Where the Wild Things Are is a classic of illustrated books for children, which narrates the imagining adventures of a child named Max. In Italy, the book was first published by. IN THE LAND OF THE WILD MONSTERS. Institute of Mary Immaculate. April 22, 2020 Dear children, I think it has happened to you sometimes that you want to disobey Until he lands in the land of wild monsters. Max is thus in the company of monsters like him, he becomes first friend and then king, so much so that he can order the beginning of the wild jumble. They are jumps, screams, dances, until tiredness and the smell of good things to eat arrive

    S. Fornara! 2 Let's draw our country of wild monsters 30 'The children draw their own version of the country of wild monsters. ! Imagine having combined all the colors, just like Max, and going to finish In the Land of Wild Monsters is a classic of American children's literature, written and illustrated by Maurice Sendak in 1963. In Italy it was published by Emme Edizioni in 1968 and then republished by Babalibri in 1999 The column of the Corriere del Ticino The cave of Scuro Moltamorte is now in its sixth episode. In the newspaper of 29.07.2016 (p. 27), Scuro Moltamorte makes a fine show with three copies in three different languages ​​of Maurice Sendak's masterpiece, In the land of wild monsters.His sixth suggestion to capture young readers, in fact, concerns the picture books and theirs. It's coming! Just in time for my cumple, Were the wild things are arrives, the film based on the masterfully illustrated text by Maurice Sendak. I am very curious, because of the Mothers generation who read the books of Emme edizioni to children. But I am sure that many in their thirties will go

    Go to content. Total: 0.00 € OUR CATALOG. ILLUSTRATED ALBUMS ART CHILDREN AND GIRLS In 2012 The Comics Journal published a very long interview, the last, with Maurice Sendak, the author of In the land of wild monsters, Luca the moon and milk and other illustrated books. He was interviewed by the editor of the magazine Gary Groth, who delivered an all-encompassing portrait of him, probably the most vivid along with that, very painful and desperately in love with him. How nice In the land of wild monsters, there is also a recent film! And the sentence is also beautiful, I did not know it was by De Crescenzo! Thank you. Reply. Wantonamelablu October 21, 2011 at 9:25 pm beautiful wild monsters! the film a lot 'less .. Reply

    The land of wild monsters story and illustrations by Maurice Sendak, Babalibri. This post participates in Paola Homedemama's VdL and sharing children's books Filippo's library on FB In the land of wild monsters. Interactive reading / concert for children from 3 to 6 years and from 6 to 10 years. Click on the photo for more information. Children's literature is full of masterpieces. One of these was written and illustrated in 1963 by Maurice Sendak IN THE LAND OF WILD MONSTERS At the G.Perfetti Kindergarten Via Abà, 129 Fanano (MO) from July 1st to August 9th. The summer center In the land of wild monsters is reserved for children who have attended the P.S. I thank Francesca because it was she who proposed and read The land of wild monsters and Elisa for the beautiful gifts prepared for each child, for having courageously welcomed us into her condominium room and certainly collected crepe paper in the courtyard of the condominium for the next three days (hoping even that she didn't get neighbors complaining about monsters. 11-Jan-2015 - activities on self-esteem, behavior, rules. View other ideas about activities, monsters, self-esteem. in the land of wild monsters

    In the land of wild monsters

    • IN THE LAND OF THE WILD MONSTERS. video reading of the book in the land of wild monsters by maurice sendak. YOU OPEN. THE HEN ANTONIA. video story antonia hen by daniela gattorno. YOU OPEN. ME AND TEK. video reading of the book io e tek taken from buonanotte di beaver publisher. YOU OPEN. I WANT MY HAT
    • All the most beautiful phrases from the film In the land of wild creatures from the archive of Famous Phrases .i
    • In the land of wild monsters, by Maurice Sendak, in the translation by Lisa Topi, Adelphi 2018. I think it is paradoxical to discuss translations and poetry when we normally talk very little about poetry and translations. We are all nostalgic for the wild crowd.

    In the land of wild monsters - Sendak Maurice, Babalibri

    1. In the land of wild creatures is a fascinating and anomalous work, which manages to use the language of children for a complex discourse on childhood, a film dedicated to the little ones but inevitably directed to others. who in a hat can still see a boa digesting an elephant. 31/10/200
    2. Nov 12, 2019 - Explore Adele Cammarata's Wild Ridda board, followed by 140 people on Pinterest. View more ideas about maurice sendak, savages, monsters
    3. In the Land of Wild Monsters EXTREMELY EXCITING AND ENGAGING INTERACTIVE SHOW SUITABLE FOR CHILDREN AGED 3 TO 6 YEARS OLD This interactive show, freely based on Maurice Sendak's masterpiece of the same name, is an exciting and engaging journey towards the darker side that lives inside each of us

    In the land of wild monsters. Edited by: Various. Written by Maurice Sendak and narrated by Gianpiero Jam Kesten. Download. LATEST EPISODES OF THE PROGRAM. Play Tales to the microphone on Sun 07/02/21. The unknown airplane - by Gianni Rodari, told by Sara Milanese. Tales at the microphone | 07-02-2021. Published in IN THE LAND OF THE WILD MONSTERS. Who we are folia is Franco Cosimo Panini Editore's magazine dedicated to miniature, old books and the stories they tell. Follow us FoliaFocus. DANCE DANCE DANCE: The Plague of Dance and other mass hysteria February 29, 2020. UFO: the Orbe of. Monsters come to life in a distant country, of which Max is king. "The wildest of the savages", among the "terrible eyes", "terrible claws" of those creatures who would like to eat it In the land of wild monsters - Sendak, Maurice ..

    • In the land of wild monsters it was a featured item. The item was subjected to a screening procedure. Consult the various evaluation procedures for any opinions and suggestions. December 18, 2010: the item was screened. See discussion. January 4, 2011
    • nel land of wild monsters can be one of the options to accompany you as soon as having supplementary time. It will not waste your time. endure me, the e-book will totally circulate you further concern to read. Just invest little grow old to log on this on-line broadcast in the land of wild monsters as capably a
    • he Jewish family, as little Sendak had known her on various religious holidays.
    • In the land of wild monsters: some considerations. It is a classic that is part of the history of American children's literature. Much has been said and written about this children's book .. In the land of wild monsters it has been the subject of study for years by professionals in the sector but above all it is always loudly requested by children everywhere and.
    • Discover the plot and reviews on Anobii from In the land of wild monsters written by Maurice Sendak, published by Babalibri in hardcover format
    • Welcome to the Wild Monster's Country, that country where we run the risk for an infinite instant of being devoured by the monsters of our anger, just as happened to Max and as happened to the Little Mermaid who after so many transformations made for love was on the point of transforming into murderer who had never been :. And so, here is where my choice has led me - he thought - a.

    In the land of the wild monsters Mangialibr

    • So he left for the land of wild monsters, but tamed them with the magic trick of staring into yellow eyes and became their king. It is the journey of adventure that lets us live and play with our fears, angers, emotions, to overcome them. It is the childhood game that allows us to fly beyond the confines of the room
    • Illustrated book Cover hardback 2018 44 pages. Only 2 pieces available (orderable) In the land of wild monsters quantity
    • In the land of wild monsters is a classic of children's literature, and that I include in my BEST LIST of essential books. I think it's one of the best books ever written on the subject of anger
    • Being together with the angry monsters helped him to deal with situations and to understand that he too has responsibilities, in fact it is he who becomes the king of wild monsters. When Max realizes that his family members love him and therefore he doesn't have to be angry with them anymore, he decides to go home, because loneliness is defeated with love and forgiveness.
    • In the land of wild monsters, the forefather of the classics Truly unique and inimitable, In the land of wild monsters has the infinite merit of being able to fix forever in the collective memory a series of archetypes, destined to be reproduced by hundreds of subsequent works, and to bring the child to the center of the story in a new way

    It's time to go back to the wild monsters of Sendak's story and find out what Max's choice is, compared to the difficulty of inhabiting the land of wild monsters In the land of wild monsters is a work of Maurice Sendak, American writer and illustrator. Maurice decided to become an illustrator after seeing Walt Disney's Fantasia. His greatest success is precisely the book in question published with the title Where the wild thing are in 1963 In the Land of the Wild Monsters is the irreverent book of the rupture, of the overturning of old punitive habits and which presents childhood growth as a painful act. . Sendak highlights the difficult issues of life, the emotion of fear and the ambiguity of the monster, a character that, among other things, children like very much and in whom they often reflect. This article was originally published in Domus 1050 , October 2020. In many children's books of my childhood and in many of those I now read to my daughters - during the quarantine I read them and reread them again - interiors and exteriors, built and natural spaces are inverted: in the volume Nel Paese dei monsri Savages by Maurice Sendak, a favorite of my little girl's.

    In the land of wild monsters - Maurice Sendak Libro

    land of wild monsters. And as soon as he arrived in the country where the wild monsters dwell, they roared terribly, gritted terribly their teeth, rolled their eyes tremendously, and showed their hideous claws. Until Max shouted: go to bed! and tamed them with the magic trick of staring into their yellow eyes. In the Land of the Wild Monsters PDF Online Reading In the Land of the Wild Monsters PDF Online with di a cup coffe. The reading book Nel Paese Dei Mostri Selvaggi is the best in the morning. This PDF In The Land Of Wild Monsters book is best seller in book store. In the Land of Wild Monsters book can be download and available in some format Kindle, PDF, ePub, and Mob In the Land of Wild Monsters is an illustrated book for children, written by Maurice Sendak and published by Harper & Row in 1963. with the magic trick of staring into the yellow eyes without blinking and they got scared and proclaimed that he was wildest monster of all and made him king of all wild monsters

    In the land of wild monsters - Teste Fiorit

    • Max puts on his wolf suit and sets off on an adventurous journey to the land of wild monsters? A true masterpiece, a classic of international children's literature created by the famous Maurice Sendak. Since 3 years. Publisher: Adelphi - View all products
    • In the land of wild monsters / history and illustrations by Maurice Sendak translated by Antonio Porta. - Milan: Babalibri, c1999. - [36] p. : ill. color. 24X25 cm: Summary / Abstract: Max puts on his wolf suit, combines all the colors and sets off on an adventurous journey into the land of wild monsters. Age of reading: from 3 years
    • YouKid is a portal dedicated to children, teenagers, families. It publishes reviews of children's books, apps and films for children, news and events, book and publishing festivals, but also recipes for kids and many columns! Online since 2014.
    • In the land of wild monsters Saturday 7 April at 5.30 pm, In the land of wild monsters, a chat about the new edition published by Adelphi together with Martino Negri, scholar of children's literature
    • Were you looking for the land of wild monsters at the best price? Buy online or come and visit us at the Mercatino dell'Usato Rome marcon area
    • Spike Jonze talks about the Wild Monsters. Andrea Francesco Berni. November 19, 2008 21:00 · updated November 19, 2008 at 9:00 pm. Cinema. Articles. Advertising

    Video: Book In the land of wild monsters - M

    In the land of wild monsters, Maurice Sendak, Adelphi, 2018 There's a rhinophant on the roof !, Marita Van Der Vyver, Dale Blankenaar, Lupoguido, 2018 The Grotlyn, Benji Davies, Giralangolo, 2018 I'm not afraid of monsters, Jakub Cenkl, Štěpánka Sekaninová, Sassi junior, 201 Via Roma, 16 - 20091 Bresso (Mi) Tel. 02 66501089. About us Libreria Al Girasol In the land of wild creatures, profile of the film by Spike Jonze, with Max Records, Catherine O'Hara and Forest Whitaker, read the story and the review, watch the trailer, here's when, how and where. Tag: in the land of wild monsters #consiglidadivano: In the land of wild creatures Children are holders of great imagination and far too much vivacity, but the grown-ups do not tolerate chaos and too often, busy with their many daily commitments, they ignore the needs of children. smaller, letting them take refuge in a fictitious world in which their every single desire takes.