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One, No One, and One Hundred Thousand is so well-constructed, each section flowing smoothly into the next, it’s as if the author penned all 160 pages in a single, uninterrupted creative burst. Remarkably, it’s just the opposite: Luigi Pirandello worked on this short novel on and off over the course of fifteen years, beginning at age forty ...
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OCLC. 224039533. One, No One and One Hundred Thousand ( Italian: Uno, nessuno e centomila [ˈuːno nesˈsuːno e tˌtʃɛntoˈmiːla]) is a 1926 novel by the Italian writer Luigi Pirandello. It is Pirandello's last novel; his son later said that it took "more than 15 years" to write. [1] In an autobiographical letter, published in 1924, the ...
- Luigi Pirandello
- 1926
Feb 22, 2019 · Because compared even to Pirandello’s allegorical earlier fictions, One, No One and One Hundred Thousand reads more like an essay in metaphysics than a plot-driven narrative. It starts off promisingly enough, with actual dialogue and the setting of a reassuringly familiar domestic scene.
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Feb 12, 2021 · This is a book review about One, No One, and One Hundred Thousand by Luigi Pirandello. Find out about my favourite quote and whether the book is worth reading.
Jul 1, 2019 · Among his six novels, One, No One, and One Hundred Thousand was a longtime obsession for him. He began writing the novel around 1909, possibly earlier, and worked on it for years, finally publishing it in La fiera letteraria in installments from December 1925 through June 1926. Pirandello’s son, Stefano, wrote a preface to this publication ...
Sep 19, 2018 · Walking along so serious . . . Excerpted from One, No One, and One Hundred Thousand, by Luigi Pirandello, translated by William Weaver. Published by Spurl Editions on October 22, 2018. About the Authors: Luigi Pirandello (1867–1936) was an Italian novelist, short-story writer, and playwright. His best-known works include the novel The Late ...
Translated from the Italian by William Weaver. Luigi Pirandello's extraordinary final novel begins when Vitangelo Moscarda's wife remarks that Vitangelo's nose tilts to the right. This commonplace interaction spurs the novel's unemployed, wealthy narrator to examine himself, the way he perceives others, and the ways that others perceive him.
