Biografie

London, Hamish Hamilton 1984, cm.16x24, pp.X,398, legatura editoriale cartonata, sopracoperta figurata.

London, Heinemann 1995, cm.16,5x24, pp.406, legtaura editoriale cartonata, sopracoeprta figurata.

London, Duckworth 1993, cm.16x24, pp.XII,478, legatura edirtoriale cartonata, sopracoperta. Walter de la Mare (1873-1956) is a writer due for reappraisal. Well-known in his own lifetime, with a wide circle of friends - Edward Thomas, Rupert Brooke, Katherine Mansfield and Thomas Hardy - he has been largely ignored by recent critics. Few know of his personal life, of his loving but difficult marriage, and the passionate and platonic affair with Naomi Royde-Smith which was so crucial to his poetry. This biography examines all aspects of de la Mare's life and art.

London, Michael Jospeh 1991, cm.16x24, pp.XXI,810, legatura editroirale cartonata, sopracoperta figurata. This biography embraces the entire scope of Victorian science, religion and society in its panoramic sweep. It puts the man and his science back into context, posing the question of how such a stickler for respectability as Charles Darwin could not only rock the scientific establishment, but construct a theory that threatened the fabric of society in the 1830s, when England teetered close to revolution? The authors explore the fiery debates during Darwin's student days in Edinburgh, his drunken revelries in prostitute-ridden Cambridge, sobering up on the "Beagle" and his clandestine work on evolution in London before fleeing to rural Kent.

Michael Russell 1995, cm.16x24, pp.XIII,370, legtaura editoriale cartonata, sopracoeprta.

London, Chatto & Windus 2013, cm.16x24, pp.528, legatura editoriale cartonata, sopracoperta figurata a colori. Edizione con firma autografa dell'autrice. Penelope Fitzgerald (1916-2000) was a great English writer, who would never have described herself in such grand terms. Her novels were short, spare masterpieces, self-concealing, oblique and subtle. The first group of these drew on her own experiences -- a boat on the Thames in the 1960s; the BBC in war time; a failing bookshop in a Suffolk; an eccentric stage-school. The later ones opened out to encompass historical worlds which, magically, she seemed to possess entirely: Russia before the Revolution; post-war Italy; Germany in the time of the Romantic writer Novalis. Fitzgerald's life is as various, as cryptic and as intriguing as her fiction. It spans most of the twentieth century, and moves from a Bishop's Palace to a sinking barge, from a demanding intellectual family to hardship and poverty, from a life of teaching and obscurity to a blaze of renown. She started publishing at sixty and became famous at eighty. This is a story of lateness, patience and persistence: a private form of heroism.

London, Chatto & Windus 2004, cm.17x24, pp.301, legatura editoriale cartonata, sopracoperta figurata a colori. Olivia Manning was a superb writer - extravagantly funny and deeply serious at the same time - but her talent was not fully recognised in her lifetime. This beautifully written biography puts the record straight. Born in 1908 in Portsmouth into a naval family, she seized independence at the first opportunity, making a penurious life for herself in London as a furniture painter at Peter Jones, before signing up as a wartime ambulance driver - although she had never learned to drive. Her personality was as idiosyncratic her novels. Her husband, Reggie Smith, was equally a 'character' - a BBC producer, self-proclaimed communist and life-long philanderer. Both indulged in affairs, but their unusual marriage was sustained by his lifelong support for his wife's gifts. After their adventurous war (Reggie was then in the British Council - and probably a spy) they became the centre of London literary life, numbering among their close friends Iris Murdoch, Muriel Spark, Stevie Smith, Ivy Compton-Burnett, Anthony Burgess and Laurence Durrell. Olivia Manning died in 1980 in their house on the Isle of Wight; a cat lover, she left most of her money to the Wood Green Animal sanctuary.

London, Constable 1993, cm.16,5x24, pp.336, legtaura editoriale cartonata, sopracoperta figurata a colori.

Oxford, University Press 1984, cm.13x19,5, pp.278, brossura copertina figurata a colori.

Oxford, University Press 1988, cm.15,5x23, pp.XIII,764, brossura copertina figurata a colori.

Weidenfeld & Nicolson 2007, cm.16x24, pp.VIII,436, ill. legatura editoriale cartonata, sopracoperta figurata a colori.

Michael Russell 2003, cm.17x24, pp.290, legatura editoriale cartonata, sopracoperta figurata.

A Paladin Book- Granada 1983, cm.13x19,5, pp.496, alcune tavole bn.ft. brossura copertina figurata a colori.

Harper Collins 1991, cm.15,5x24, pp.XV,448, legatura editoriale cartonata, sopracoperta figurata a colori.

London, The Reprint Society 1947, cm.13x19, pp.XII,496, legatura editoriale cartonata.

Roma, Editrice Elia 1974. cm.15x23, pp.345, brossura. Coll.Storia Moderna e Contemporanea Studi e Testi. Attraverso una attenta ricostruzione della vita e della filosofia di Giovanni Amendola, Alfredo Capone fornisce la chiave per indagarne il pensiero politico, che assume la democrazia liberale moderna fondata sul superamento del principio individualistico del liberalismo classico e su una concezione della religione come cristianesimo filosofico e aconfessionale. La democrazia politica di Amendola trova le sue origini nel radicalismo risorgimentale, nel cui solco egli colloca il riformismo del Partito socialista al quale aderì adolescente. Attraverso l'analisi del suo pensiero e delle sue vicende politico-biografiche, come l'esperienza della guerra - che mise a nudo le sue illusioni interventiste e il suo sogno di una "Grande politica nazionale" l'autore mette in luce la svolta in senso radicale della sua concezione della democrazia, che si fonda sulla presa d'atto della catastrofe irreversibile della classe dirigente italiana nel suo insieme. Giovanni Amendola segna la linea di non ritorno dell'Italia liberale e laica del Risorgimento e l'inizio dell'Italia dei partiti di massa. Deve la sua "sfortuna" storiografica, secondo l'autore, alla struttura del sistema politico italiano, i cui conflitti trovano sempre una ricomposizione sulla frontiera del populismo, del consociativismo e dunque nel rifiuto della democrazia liberale europea di cui il nostro fu il massimo esponente nell'Italia contemporanea e per molti aspetti, il fondatore.

London, Constable 1992, cm.16x24, pp.213, legtaura editoriale cartonata, sopracoperta figurata a colori. The two questions that are put to Muriel Spark most frequently are these: "Are your novels autobiographical?" and "Why did you become a Catholic?" The first of these questions Muriel Spark has consistently deflected. Now in this volume, she gives her readers the answers to both questions. In her first novel, "The Comforters", Mrs Spark wrote about a young woman recently converted to Catholicism who struggles against the will of the novelist who has created her. Many assumed that this reflected the author's own religious experience and self-consciousness about the business of writing fiction. But before then Muriel Spark had already written autobiographical studies and works of literary criticism, and had determined that she would be first and foremost a poet. Muriel Spark writes about her childhood in Edinburgh (foreigners were tolerated but the English were something quite different); she describes her Jewish father, the original Miss Jean Brodie, her marriage and her time in Africa which was the inspiration for "The Go-Away Bird" and so much of her early writing. There have been hints in later novels of her work as a publisher's editor ("A Far Cry From Kensington"), her lodgings in London ("The Ballad of Peckham Rye") and her work for the Poetry Society. Now Mrs Spark gives a direct account of the people and places which inspired so much of her work.

L' anarchico che sfidava tutte le polizie d'Europa. Milano, Arnoldo Mondadori Editore 1973, cm.16x21,5, pp.124,(4), alcune ill. a uno e a 2 col.nt., legatura editoriale cartonata. Coll.I Grandi Contestatori,10.

E' stato mai capito in fondo questo rivoluzionario idealista? Milano, Arnoldo Mondadori Editore 1973, cm.16x21,5, pp.124,(4), alcune ill. a uno e a 2 col.nt., legatura editoriale cartonata. Coll.I Grandi Contestatori,12.

Uccise Cesare per salvare la libertà di Roma. Milano, Arnoldo Mondadori Editore 1973, cm.16x21,5, pp.124,(4), alcune ill. a uno e a 2 col.nt., legatura editoriale cartonata. Coll.I Grandi Contestatori,8.

Condannato senza appello per aver scrutato troppo a fondo il cielo. Milano, Arnoldo Mondadori Editore 1973, cm.16x21,5, pp.124,(4), alcune ill. a uno e a 2 col.nt., legatura editoriale cartonata. Coll.I Grandi Contestatori,7.

Rifiutò la ricchezza del padre e respinse il fasrto della Chiesa. Milano, Arnoldo Mondadori Editore 1973, cm.16x21,5, pp.124,(4), alcune ill. a uno e a 2 col.nt., legatura editoriale cartonata. Coll.I Grandi Contestatori,4.

A cura di Delia Eusebio. Parma, Fondazione Pietro Bembo, Ugo Guanda Ed. 1994, cm.12x19, pp.CXXXII,541, legatura editoriale in tutta tela, sopracoperta. Coll.Biblioteca di Scrittori Italiani. E' un romanzo in prosa (con alcune parti poetiche) che racconta la vita di Maria Maddalena in forma narrativa. La Maddalena è figlia di persone abbienti e nobili; morti i genitori si dà a una vita dissoluta, invano trattenuta dalla sorella Marta (la Marta del Vangelo). Il libro continua con la vicenda della peccatrice fino all'incontro con Gesù ritratto nei Vangeli e alla Passione di Cristo vista con gli occhi della Maddalena. Si chiude infine con la vita ascetica della Maddalena stessa in una grotta vicino a Marsiglia.

Testo critico e commento a cura di G.J.M.Bartelink. Christine Mohrmann. Traduz.di Pietro Citati, Salvatore Lilla. Testo a fronte. Milano, Fondazione Lorenzo Valla, Mondadori Ed. 1974, cm.13x20,5, pp.XCII,280, legatura editoriale cartonata sopracop.fig.a colori. Coll.Scrittori Greci e Latini. Vite dei Santi.