Abstract
Fulvio Tomizza, one of the most fascinating and yet most neglected writers of the Italian twentieth century, dealt extensively with exile. In picturing the dramatic Istrian diaspora that followed the Second World War Italo-Yugoslav border redefinition, he focused on the moment of departure from one’s own country of origins, pinpointing a broken cosmos, which comes together with the progressive split of the self. Thanks to Edward Said’s theoretical investigations, Tomizza’s novel La ragazza di Petrovia can be seen as shedding new light on the exilic condition and its dissonances. In particular, this analysis aims to develop a comparison between the musical dynamics of counterpoint (such as dissonance and simultaneity) and the narrative of the novel’s protagonist, in order to fully explore the controversial decision to remain in the country of one’s origin or move away.
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