Plot

All of the great authors of this fairy tale, as well as the great collectors who squeezed the fantastic from the memory of the old peasant women, had an internal drive, hidden, unspoken, that guided them to make certain choices, to define their own connotations.
Costanza Savini also writes holding a talisman in her hand that has the same characteristics as those used by the great fabulists. It is in the balance, you can feel it well, between two dimensions, between spaces that do not connect, between creative situations that do not dialogue with each other. On this side we have nature, loved intensely; on the other side a very conscious culture, immersed in the labyrinths of contemporaneity, attentive to the daily feedback of a world that opposes artifice to nature. The objects of common use exist, they are carefully described, a clear catalog is made of them: but then it turns out that they are not the ones that everyone thinks they see, they belong to Costanza Savini.
Costanza Savini sought a language that could anchor her stories to a precise perspective that she could arouse in readers, to a perceptual configuration that she was bringing to light. It could also be defined as a conscious heir of “magical realism”. Even though they are stories, perhaps they are chapters. The unitary text gives an account of a gaze that scrutinizes, of an attention that avoids stereotypes and goes beyond borders. Perhaps these eyes, the heart of the fantastic, really looked at it.

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Author: Costanza Savini
Illustrator: Antonio Saliola
Publisher: Campanotto
Year of publication: 2002
No longer available for purchase
Category: Young Adult

Preface

Costanza Savini also writes holding a talisman in her hand that has the same characteristics as those used by the great fabulists. […] Forse, questi occhi, il cuore del fantastico l’hanno guardato davvero.

Continua su In Bilico – Antonio Faeti

 

Reviews

Il meraviglioso permea la quotidianità con un sorriso leggero nelle narrazioni per l’infanzia scritte da Costanza Savini.
Fernando Albertazzi (in “Tuttolibri/La Stampa, 22 febbraio 2003)