Reviewed by: The Making and Unmaking of Mediterranean Landscape in Italian Literature: The Case of Liguria by Tullio Pagano Rossana Barbera, Ph.D. Tullio Pagano, The Making and Unmaking of Mediterranean Landscape in Italian Literature: The Case of Liguria, Fairleigh Dickinson University Press, 2015 This book starts with a Preface dense with biographical memories tracing back to Tullio Pagano's childhood and arriving at his adulthood: memories of colors, scents, tactile sensations; memories of Pagano's Liguria, to which the author—a native of Genoa who worked for thirty years in academic American institutions—feels that he belongs, and at the same time does not belong, anymore. The reason is soon expressed by Pagano himself, who claims the need to understand "to which part of Liguria I belonged" (xvii). This matter represents the core of the book itself and expresses the reason for its being written, that is, the realization that a large part of the Ligurian territory has been modified – and not for the better – across several decades, by uncontrolled forces driven by economic interests, and the landscape is very different now from what it was in the past. The future appears even worse if Pagano considers recent laws on new infrastructures for high speed trains (TAV) to connect Italy with France, which can damage further not only the landscape but even the ecosystem of the valley. "Who owns the landscape?" (192) is the powerful question, almost a suffocated cry, that a very concerned Pagano poses toward the end of his book. In the Introduction Pagano reflects on the theoretical concept of landscape, and its multiple meanings and interpretations given by critics and thinkers throughout two centuries, with semantic differences of terms such as landscape, nature, place, space, and territory. Can the term landscape be conceptualized in a single meaning? Of course not. There are as many landscapes as the number of viewers who see them. Italy is a country of many differences in each region. Liguria is a land of differences par excellence, starting from its unique shape, a strip of land, narrow and long, that extends from east to west along the coast. This is the Liguria that the ancient Romans preferred to conquer, avoiding the more impervious areas of its mountains, when they opened a road along the sea that connected Levante with Ponente. This is the Liguria that has been viewed by most tourists' eyes an attraction of a wealthy industry, "the sunny side of the Italian Riviera" (xiv). But there is, and there has always been, a vertical Liguria, that is less known and less visible: an "intimidating territory behind the steep slopes of the Apennine" (26). This vertical Liguria can be reached in a short time and not many miles from the coast. In opposition to the horizontal Liguria, it creates the differences that establish the main characteristic of its own nature. Pagano's book highlights, from beginning to end, this dual nature of his region, which constitutes also the DNA of its people: it is in this rough inland that the author ultimately finds the real soul of the region "the landscape of the interior", "the only authentic one" (xvii). Liguria has given birth to several poets and writers. To embark on an idealized voyage through memory, a collective memory, along the sun-drenched [End Page 200] coasts of the Riviera, and in the "dark side" of the region, Pagano revisits—in seven chapters, spanning two hundred years—the literary portraits of Liguria given by Giuseppe Ruffini, Camillo Sbarbaro, Eugenio Montale, Giorgio Caproni, Italo Calvino, Francesco Biamonti, and Annie Hawes. Literature has had the power of making and unmaking the Mediterranean landscape. The subtitle—The Case of Liguria—suggests that Liguria has a unique story to tell. So Pagano make us see Ruffini's Bordighera through his Il dottor Antonio, "as a space endowed with its own history, culture and memory" (42). In Camillo Sbarbaro's collections of poems, Trucioli and Pianissimo, outdoor space becomes suffocating in its urban setting as well as in the wilderness of the countryside, and can be both a Paradise and a Hell, where the poet can be lost adrift or find a shore: "my Liguria; the...
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