Works
Below is a list of important works written by Carlo Levi. Publisher (where appropriate) and date of publication follow each work:
- Paura della pittura (1942)
- Cristo si è fermato a Eboli (Einaudi, 1945)
- Paura della libertà (1946)
- L'orologio (Einaudi, 1950)
- Le parole sono pietre (Einaudi, 1955)
- II futuro ha un cuore antico (Einaudi, 1956; won the Premio Viareggio)
- La doppia notte dei tigli (Einaudi, 1959)
- Un volto che ci somiglia (Ritratto dell'Italia) (Einaudi, 1960)
- Tutto il miele è finito (Einaudi, 1964)
- Quaderno a cancelli (Einaudi, 1979; published posthumously)
- Coraggio dei miti (Scrìtti contemporanei 1922-1974) (De Donato, 1975; published posthumously)
- Carlo Levi inedito: con 40 disegni della cecità, Donato Sperduto (ed.), Edizioni Spes, Milazzo, 2002.
Levi also wrote numerous prefaces and introductions for many authors throughout his lifetime. There have also been collections of Levi's works published after his death, notably essays, miscellaneous writings and poetry.
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Famous quotes containing the word works:
“His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
—Henry David Thoreau (1817–1862)
“Artists, whatever their medium, make selections from the abounding materials of life, and organize these selections into works that are under the control of the artist.... In relation to the inclusiveness and literally endless intricacy of life, art is arbitrary, symbolic and abstracted. That is its value and the source of its own kind of order and coherence.”
—Jane Jacobs (b. 1916)
“The mind, in short, works on the data it receives very much as a sculptor works on his block of stone. In a sense the statue stood there from eternity. But there were a thousand different ones beside it, and the sculptor alone is to thank for having extricated this one from the rest.”
—William James (1842–1910)