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posted on October 23, 2020 by

Andrew Frisardi, Love’s Scribe: Reading Dante in the Book of Creation (2020)

frisardi-loves-scribe-reading-dante-in-the-book-of-creation-2020“In a few passages of his writings, Dante identifies himself as ‘Love’s scribe’—the scribe, that is, of all love, from natural and human love to the “Love that moves the sun and the other stars.” Another fundamental notion in Dante, and in medieval thought in general, is that the manifold things of the creation are like pages bound together by divine love into a unified book, a series of successive analogies of God—a book written by God, in which can be discerned images and resemblances of divinity. As the current volume shows, this way of reading the creation also opens a vista into Dante’s or any traditional metaphysical-symbolist author’s works as an analogia entis—as a series of signs corresponding to multiple levels of reality, each resonating with others in the hierarchical chain of being…” […]    –Andrew Frisardi, Angelico Press, 2020

Check out the Angelico Press website to read praise for Love’s Scribe.

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posted on July 30, 2020 by

John Took, Dante (2020)


“If we’re in hell, we might as well read Dante. New book on the Italian great is rough sledding, but provides poetic insight on our present perdition.”    –Neil Steinberg, Chicago Sun Times, July 28, 2020

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posted on August 6, 2019 by

Reviewed: Dante’s Divine Comedy by Ian Thomson

“Ian Thomson’s eclectic and erudite romp through the work of Dante Alighieri – born in Florence in 1265, died in Ravenna in 1321 – features sharp observations and piquant elucidations concerning Divina Commedia (The Divine Comedy) and its author.

“Thomson sets the tone from the off, beginning with an amusing epigraph which ran in Private Eye in December 2017, a `Very Late News’ about how the 14th century Italian poet Dante Alighieri and how he would be glad to see the back of that year, saying  ‘Phew, I’ve been trapped in this circle of hell for so long, I can’t wait to get out of it.’

“As for the matter in hand, this welcome book – whose subtitle is A Journey Without End  – is no skit, despite the Private Eye reference. Dorothy L Sayers offers a more relevant reflection on the work of the great Florentine in another epigraph to the work. ‘To understand Dante is not, of course, necessary to believe what he believed, but it is, I think, necessary to understand what he believed.’

“There have been myriad translations in English of Divina Commedia including a recent offering from Clive James, which appears to have won some and lost some fans – a quote from Ciaran Carson’s version is favoured instead for the back cover.” […]    –Paddy Kehoe, RTE, January 14, 2019

For more, consult the reviews of Thomson’s work in The Guardian, The Spectator, and Church Times.

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posted on July 31, 2019 by

A Profound Meditation on Hell

“When I had journeyed half of our life’s way, I found myself within a shadowed forest, for I had lost the path that does not stray …’

“So opens the 14th-century poem Divina Comedia (The Divine Comedy) by Dante Alighieri.

“The blurb on the back cover of a new book, Spiritual Direction From Dante: Avoiding the Infernoby Oratorian Father Paul Pearson, tells its readers that no prior knowledge of the celebrated text is necessary to appreciate or enjoy its riches: “Reading Dante not required!” That is because Father Pearson gives an excellent explanation of the poem, and both its cultural and spiritual significance, in just over 300 pages.

“Fusing practical advice about how to live one’s Christian vocation with a piece of high art from the Middle Ages is not an easy thing to do. Father Pearson carries it off superbly, and while doing so, he gives the reader a fresh appreciation of Divina Comedia.

“The structure of the book is a straightforward journey through the 34 cantos that make up the first part of the poem, namely, Inferno (hell). For anyone unfamiliar with Divina Comedia, this epic poem recounts how Dante, accompanied by the pagan poet Virgil, journeys through the many circles of hell, purgatory and then heaven.” […]    –K.V. Turley, National Catholic Register, June 8, 2019

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posted on July 25, 2019 by

Tina Turner: By the Book

“What books do you find yourself returning to again and again?

‘In 2017, my kidneys were failing and I went through a prolonged period of dialysis. Every time I went to the clinic, I brought the same three books with me: The Book of Secrets, by Deepak Chopra, The Divine Comedy, by Dante, and a book of photography by the extraordinary Horst P. Horst. I needed something for the spirit, something for the intellect and something for the senses, and the ritual of studying the same books while I was undergoing treatment was comforting to me because it imposed order on a situation I couldn’t otherwise control.’

“You’re hosting a literary dinner party. Which three writers are invited?

‘I like a dinner party to be a lively mixture of different kinds of people — young, old and everything in between. So my first choice would be Dante — after all my years of studying The Divine Comedy, I need to ask him a lot of questions! I could be his Beatrice! Since I can’t choose between Anne Rice and Stephen King, I’d set places for both of them. Their books have kept me awake for many a night because there’s nothing I enjoy more than a good scare! And I’d definitely serve Thai food, because I like things spicy.’ ” […]    –Jillian Tamaki, The New York Times, October 18, 2018

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posted on July 25, 2019 by

The Sin of Silence

“In the Inferno, Dante Alighieri, a critic in his day of Church leadership, famously put the souls of at least three popes in hell, as well as countless other clerics who go nameless, their faces blackened beyond recognition. However, one cleric he does meet along the way is Ruggieri degli Ubaldini (d. 1295), the archbishop of Pisa, who notoriously arrested the city’s strongman, Ugolino della Gherardesca (1220-1289), along with several members of his family, and starved them to death in a tower.

“Dante’s fantastical encounter with Ruggieri and Ugolino in the Inferno takes place on a vast lake of ice near the bottom of hell. Here, frozen for eternity, are the souls of sinners condemned for treason: some for betraying their city or country, and others for betraying their kinsmen. Dante is not far from the bottom of the pit, where he will soon come face to face with Satan, a giant demon, frozen in ice to his waist, who eternally chews on the bodies of three of history’s most infamous traitors, Brutus and Cassius, who betrayed Julius Caesar, and Judas Iscariot. Three pairs of legs dangle from the demon’s mouth.

“As Dante pushes on across the lake, he sees two souls frozen in the same hole. They are encased in ice up to their necks. One of them is repeatedly sinking his teeth into the skull of the other, like a dog gnawing a bone. He is startled by Dante’s presence. He takes his mouth from his “savage meal” and wipes his lips on the other’s hair. He introduces himself as Count Ugolino. ‘And this,’ he says of the other, ‘is the Archbishop Ruggieri.’

“Ugolino and Ruggieri were Dante’s contemporaries. Both where partisans in a conflict between two armed factions that roiled much of Italy in the thirteenth century, and both were accused of treason, Ugolino, Pisa’s podestà or political leader, for switching sides in the conflict, and Ruggieri, a sometime ally of Ugolino’s, for rising up against him and for capturing him by deception. Dante knew the story, which, when passed through his poetic imagination, comes down to us as one the most disturbing passages in the Inferno.” […]    –James Soriano, Crisis Magazine, October 8, 2018

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posted on July 19, 2019 by

Review of “Caroline’s Bikini”: a Modern-Day Mash-Up of Dante, Milton and Metafiction

“Writing a book review about a novel that is about a book reviewer writing a novel, and that references the act of novel writing, often in footnotes, is the self-reflexive task of appraising Kirsty Gunn’s latest offering. A modern-day mash-up of Milton, metafiction and Dante, and of Renaissance swooning in Richmond, Caroline’s Bikini questions myth and reality through an exploration of the nature of fiction and the projection of love.

“Courtly love is the fabric on which this modern story is sewn. The book includes sections of Il Canzoniere, a sonnet sequence written by Petrarch after having fallen in love with a 14-year-old girl exiting a church. The 14th-century poet wrote yearningly about her for a period of 40 years without ever meeting her.” […]    –Rebecca Swirsky, New Statesman, June 27, 2018

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posted on July 19, 2019 by

From Dante to “I Love Dick”: 10 books about Unrequited Love

“Katherine Mansfield’s exquisite long short story At the Bay, Beryl, a middle-aged woman still fantasising about the young girl she once was and the lovers she could have captured then, stands in a darkened room half-imagining someone is out there in the dark, desiring her. So much of fiction is about desire, a yearning of some kind or another … the love of reading itself a sort of intense affair.

“These thoughts and more were whirling around in my mind when I wrote my own novel about unrequited love, Caroline’s Bikini, the story of middle-aged Evan’s great love for his landlady, the desirable but always just out of reach Caroline Beresford.

“The Divine Comedy by Dante- Dante follows hard on his heels, of course, and was writing before him – his Divine Comedy a kind of early novel, as I think of it, in three parts, that was inspired by a similar kind of experience. Dante never knew his Beatrice either, yet the idea of her propelled his great work about visiting Hell and Purgatory and Heaven, to be met there by her: another fantasy made true in words.” […]    –Kirsty Gunn, The Guardian, June 27, 2018

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posted on July 18, 2019 by

Dante’s Tour of Hell

“All hope abandon ye who enter here.”

“That’s the inscription on the gate to Hell in one of the first English translations of The Divine Comedy, by Henry Francis Cary, in 1814. You probably know it as the less tongue-twisting ‘Abandon hope all ye who enter here,’ which is the epigraph for Bret Easton Ellis’s American Psycho, hangs as a warning above the entrance to the Disney theme park ride Pirates of the Caribbean, appears in the videogame World of Warcraft, and has been repurposed as a lyric by The Gaslight Anthem.

“But it’s just one line of the 14,233 that make up The Divine Comedy, the three-part epic poem published in 1320 by Florentine bureaucrat turned visionary storyteller Dante Alighieri. Literary ambition seems to have been with Dante, born in 1265, from early in life when he wished to become a pharmacist. In late 13th-century Florence, books were sold in apothecaries, a testament to the common notion that words on paper or parchment could affect minds with their ideas as much as any drug.” […]    –Christian Blauvelt, BBC, June 5, 2018

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posted on July 18, 2019 by

Reading Dante as a Feminist

“Classical literature has numerous inherent values and should still be extensively read by today’s readers. Still, despite my love for Dante, I would argue that it also essential to read classical literature with a critical eye, especially as our concepts of human rights and equality have greatly transformed since these works were written.

“Metamorphosis is traditionally typically about erotic, passionate love. Eros, this type of sinful love, is a subject that Dante explores extensively in the Divine Comedy. Dante studied Ovid extensively and engages with Ovid’s works in La Commedia. In his epic poem, Dante challenges Ovid and transfigures this process of transformation — often shaping metamorphoses into a perverted punishment of sin. Dante explicitly uses metamorphosis as a cruel, twisted form of punishment. Thieves transform into snakes and those who committed suicide are perversely turned into bushes and trees. Further parallels to Ovid can be drawn in Dante’s hell. Daphne was rendered a tree for all eternity — just as those in the circle of suicide were cruelly revoked from their human form.

“In the Inferno, the circle of Lust is predominantly full of women, including Cleopatra, Dido, Helen of Troy and Francesca. Though Dante engages with a few famous male literary characters — such as Paris and Achilles — in this circle, Francesca gives the longest soliloquy. Francesca is one of the few women in La Commedia to be given so many lines, and yet her identity and actions are tied to two male figures. Francesca was killed by her husband when he caught her having an affair with her brother. Dante portrays Francesca as a beautiful, gentle seductress–even the poet temporarily succumbs to her enchanting words. Although Francesca’s story provides interesting commentary on the constraints of love and society, it is unfortunate that Francesca is one of the only dominant female voices in the Inferno. Dante’s work would be more nuanced if he developed other female characters whose roles were not tied to lust and sexual temptation. ” […]    –Sophie Stuber, The Stanford Daily, June 4, 2018

 

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