Citings & Sightings of Dante's Works in Contemporary Culture
“…The front door of another person’s house terrified me more than the gate of Inferno in the Divine Comedy, and I am not exaggerating when I say that I really felt I could detect within the door the presence of a horrible dragon-like monster writhing there with a dank, raw, smell…” –Osamu Dazai, No Longer Human, 1948
Contributed by Camila Aguilar (University of Texas at Austin, ’25)
“In his new book, Depths of Dante, Colorado Springs author Kevin Cady invites readers to explore one man’s journey into the darkest regions of the human condition.
“The book follows Dante Trakas on his journey to an unimaginable world. What begins as a search for a lost ship, the Cursed Nomad, turns into a down-the-rabbit-hole adventure where Dante explores not only the furthest reaches of himself but of humankind.
“Trakas descends into the world of eternal punishment, where he explores the furthest reaches of himself, pushed by the devil’s deceitful questions. While in hell, Trakas encounters a wall of bodies, grotesque-looking beasts that defy imagination and psychological warfare on the journey to the devil’s castle.” [. . .] –William Dagendesh, North Springs Edition, October 19, 2021 (retrieved March 27, 2022)
Depths of Dante was originally published on October 13, 2021.
“Nuruddin Farah’s ninth novel in English, Links, makes a mainly para-textual use of Dante’s Commedia, implicitly validating its canonical status both within Italian literary tradition and world literature as a whole. The epigraphs chosen for each part of the book come from Dante’s Inferno, except the first three exergues…
“Through the references to Dante’s Commedia, Jeebleh’s journey is configured from the beginning as a descent to hell, represented by the city of Mogadishu during the civil war.” [. . .] –Simone Brioni, Lorenzo Mari, Postcolonial Dante: Reading the Commedia in Mogadishu, 2019
Access Links by Nuruddin Farah here.
Contributed by Simone Brioni (Ph.D., Stony Brook University)
“Ho studiato nelle scuole della lingua di Dante…Grazie Dea Italia! Sarò finalmente lontano da questi somari, da questi brutti ceffi, selvaggi, che adorano i cammelli…” –Garane Garane, Il Latte è Buono, 2005
“Gashan’s (the protagonist’s) identification with Dante is central in the novel, which can be seen as an inverted journey from the Heaven of the uncritical enjoyment of Italian culture in Somalia to the Hell of European and American discrimination and Somali Civil War. Garane’s Il Latte è Buono can be defined as a Bildungsroman since the character becomes increasingly aware of the psychological influence of Italian colonialism on his education when he reaches and lives in Italy. To some extent, Dante’s role within his Bildung is once again to serve as a meta-literary guide for the main character, recalling Virgil’s role as Dante’s mentor in the Commedia.” –Simone Brioni, Lorenzo Mari, Postcolonial Dante: Reading the Commedia in Mogadishu, 2019
Access Il Latte è Buono by Garane Garane here.
Contributed by Simone Brioni (Ph.D., Stony Brook University)
“So the biographer must ultimately choose: Either hew to the evidence and ferret out whatever rare nugget about Dante’s life remains uncovered, or surrender to the genius of the work he called his Comedìa and try to broker a fragile peace between literary interpretation and life writing.
“In a new biography timed (in its original Italian publication) to the 700th anniversary of the poet’s death in 1321 and translated fluidly by Allan Cameron, the Italian historian and novelist Alessandro Barbero chooses the first option. His vita, or life, of Dante, revisits some of the perennial riddles in Dante studies: Did the poet make it to Paris during his exile? (Barbero believes yes, contrary to most.) What was Dante’s socioeconomic class? (In Barbero’s view, higher than many think.) While still in Florence before his exile, did Dante conceive the project that would later become his Comedy? (Perhaps so, Barbero argues, once again against the grain.)
“We can be grateful to Barbero for this richly informative biography of a man who can seem so reticent and aloof that at times it feels as if he’s hiding behind the 14,233 verses of “The Divine Comedy” rather than revealing himself. But for those who are looking to learn more about the Dante in us, a biography has to do more than deliver the plausible facts. And so the quest for a vita of Dante in English will likely lead us right back to where Emerson suggested: the poetry from Dante’s own hand.” [. . .] — Joseph Luzzi, The New York Times, January 4, 2022 (retrieved January 17, 2022)
See our other post relating to Barbero and the 700th Anniversary here.
