author portrait

Major Awards and Honors

Premio Viareggio (Italy)

Premio Strega (Italy)

Premio Fiuggi (Italy)

Prix du Meilleur Livre Étranger (France)

Anna Maria Ortese

(1914 – 1998)


Bibliography

Novels

Novellas and Short Stories

Poetry

Nonfiction

Links

Anna Maria Ortese at Italian Women Writers (University of Chicago Library)

Anna Maria Ortese at ItaliaLibri (in Italian)

Themis-Athena's select bibiliography of 20th century European literature

Themis-Athena's Guide to Women Writers: Part 1, Part 2 and Part 3


Anna Maria Ortese

The Iguana The Iguana
reviews: 7
ratings: 51 (avg rating 3.82)
Il mare non bagna Napoli Il mare non bagna Napoli
reviews: 1
ratings: 35 (avg rating 3.29)
Il cardillo addolorato Il cardillo addolorato
reviews: 3
ratings: 28 (avg rating 3.43)
Il porto di Toledo Il porto di Toledo
reviews: 1
ratings: 8 (avg rating 4.25)
Mistero doloroso Mistero doloroso
reviews: 2
ratings: 7 (avg rating 4.00)

Biographical Sketch

Anna Maria Ortese (Rome, Italy, June 13, 1914 – Rapallo, Italy, March 10, 1998) was an Italian writer.

Brought up in modest circumstances in Naples and Tripoli and prompted to write in the search for consolation over the death of her favorite brother Emanuele, Ortese published her first poetry in 1933 and a short story entitled Pellerossa (Red Skins) in 1934, which would already foreshadow her preoccupation with civilization's, and the individual's disconnectedness and loss of innocence. Her first collection of short stories, Angelici dolori, appeared in 1937.

Ortese was constantly harrowed by financial problems and was forced to continue working as a journalist even as she wrote her works of fiction. She frequently moved and, although her first publications were largely (though not unanimously) favorably received, it would take until 1950 and 1953, respectively, for the collections L'Infanta sepolta and II mare non bagna Napoli (The Bay Is Not Naples) to be released, the latter dealing with the squalid conditions of post-war Naples and being awarded the 1953 Viareggio Special Prize for Fiction. The collection's first story, Un paio di occhiali, was eventually made into a movie in 2001; the final story, however, II silenzio della ragione (The Silence of Reason), addressing the literary community of her then-home town Naples (which would remain the most important city in Ortese's literary imagination even in later years), met with violent opposition and contributed to Ortese's growing marginalization and ostracism, brought on by the ciritcal stance she took towards Italy's intellectual and cultural scene of her day, which she unflinchingly characterized as self-satisfied and pampered.

The two books widely regarded as her most important works are the novels L'Iguana (The Iguana, 1965, also reportely Ortese's own favorite work) and Poveri e semplici (1967), the latter winner of the coveted Premio Strega in the year of its publication and eventually followed by a sequel, Il capello piumato, in 1979. The Iguana, like most of her works written in the style of the magical realist tradition, was republished in 1986, then winning the Premio Fiuggi, and translated into French in 1988, where it garnered critical acclaim as well. – In Sonno e in Veglia (1987) was awarded the Premio Procida-Elsa Morante in 1988.

Despite being the recipient of multiple prestigious awards, however, Ortese remained unreconciled wth her country's literary community and was widely disregarded by the reading public. The experimental novel Il Porto di Toledo (1975), the story of a teenage novelist living in a fictitious city (the eponymous Toledo) modelled on pre-war fascist Naples, went largely ignored until its republication two weeks before her death in 1998. Increasingly isolated, Ortese once more allegorically turned to her own life experience in her final books Il cardillo addolorato (The Lament of the Linnet, 1993), which centers on a woman caught between enlightenment and romance in a magical version of eighteenth-century Naples and whose French edition would come to be awarded the Prix du Meilleur livre Étranger in 1998, and Alonso e i visionari (1997), published the year before her death. Only posthumously, the literary community would finally come to be reconciled with her, and she garnered the wider and more unanimous recognition denied to her during her life.

Read more about Anna Maria Ortese on Wikipedia Italiana (in Italian).


Themis-Athena's Reviews

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L'Iguana (The Iguana)

icon Humanity's fall from grace between reality, dream and lunacy.

Born in Rome in the year 1914, Anna Maria Ortese grew up in southern Italy (primarily Naples) and in Lybia, the fifth of nine children of a soldier's family often short on money. Like many poor girls of her generation, Ortese left school at age thirteen, initially with the idea of studying (and then, teaching) music in mind; until the discovery of literary romanticism, particularly the writings of Edgar Allan Poe and Katherine Mansfield, and her need for creative self-expression made her turn to writing. She eventually studied with Massimo Bontempelli, proponent of the "magical realism" she herself would soon make her own as well, and in 1937 published her first collection of short stories, entitled "Angelici Dolori." Yet, although her work has garnered her native Italy's most prestigious literary prizes (most notably, the 1953 Premio Viareggio for the collection of stories "Il Mare Non Bagna Napoli" – published in English under the title "The Bay Is Not Naples" - and the 1967 Premio Strega for the novel "Poveri e Semplici"), few of her books have been translated into English; and even in Italy, she has remained controversial despite all literary acclaim.

"The Iguana" is generally considered Ortese's masterpiece, winner of the 1986 Premio Fiuggi upon its republication, 21 years after its original release. It tells the story of the Milanese count Daddo (Aleardo di Grees), who goes on a somewhat lackluster voyage of discovery and, off the Portuguese coast, comes upon an uncharted island named (as his captain tells him) Ocaña, and inhabited by three impoverished noblemen – the brothers Avaredo-Guzman – and their servant Estrellita. While attempting to strike up a friendship with the dreamy don Ilario de Guzman, don Aleardo also finds himself strangely attracted to the humble Estrellita, who, he discovers much to his shock and surprise, is not a human being but an iguana in human clothes. Initially a mere observer of the goings-on on the island, Daddo's interest in don Ilario and Estrellita draws him, vortex-like, more and more into a participatory role; and as the narrative shifts between dreamlike sequences, reality and a growing sense of lunacy, drawn in, like don Aleardo, is also the reader.

Unfortunately I am not fluent enough in Italian to be able to read the book in its original version; I am told that it is written almost entirely in the imperfect tense (imperfetto) which, inter alia, describes events in an undefined or remote past, and thus probably contributes even more to the novel's unreal, almost otherworldly feeling. Yet, even in translated form, it is abundantly clear that "The Iguana" deserves every bit of praise it has received (the leading Italian Newspaper "Corriere della Sera" even hailed it as "one of the very few books destined to redeem the honor of Italian literature since the Second World War"); it is a wonderfully-written voyage into, as Ortese herself described her literary aim, "the regions of the soul where everything is possible;" in turn reflecting the author's sarcasm, optimism, sadness and, again and again, glimmers of hope as to the present and future of human society. – And yet, when invited by don Aleardo to shake off the burdens that seem to hold him captive and to reclaim his freedom, don Ilario asks, in return, whether freedom can ever come from outside the individual, can ever be "anything other than the fruit of a violence we have to inflict upon all our desires for a life that's secure and comfortable" and be reconciled with the ideal of a life divested of all responsibility; and when don Aleardo suggests that not every responsibility must necessarily be freely assumed (and therefore, one that a person may not be at liberty to relieve himself of), don Ilario replies cryptically that he would gladly rid himself of every responsibility except one: which one, however, he does not specify, thus leaving the puzzled don Aleardo himself to discover the heavy burden weighing on the young marquis's shoulders – his (and humanity's) symbolic fall from grace.

Fiercely independent and unwilling to bow to popularism and to her editors' demands, Anna Maria Ortese always placed the purity of her writing above financial success, again and again taking the risk that she would have to depend on sources outside her writing for her daily survival. Feeling as much a stranger to Italian society as her books abstract themselves from typical Italian settings, she died, in 1998, in Rapallo, where she had lived for the last two decades of her life. She has left behind a body of work of over 20 books, justly deserving to be named alongside such masters of modern Italian literature as Elsa Morante, Italo Calvino and Alberto Moravia. Would that, in the annals of literature's all-time greatest authors, she will receive the lasting recognition that her work deserves, and her books still be read for a long time to come ...