uigi Pirandello(1867-1936) was born in Girgenti, Sicily. He studied philology at Rome and at Bonn and wrote a dissertation on the dialect of his native town (1891). From 1897 to 1922 he was professor of aesthetics and stylistics at the Real Istituto di Magistere Femminile at Rome. Pirandello’s work is impressive by its sheer volume. He wrote a great number of novellas which were collected under the title Novelle per un anno (15 vols., 1922-37). Of his six novels the best known are Il fu Mattia Pascal (1904) [The Late Mattia Pascal], I vecchi e i giovani (1913) [The Old and the Young], Si gira (1916) | [Shoot!], and Uno, nessuno e centomila (1926) [One, None, and a Hundred thousand].

But Pirandello’s greatest achievement is in his plays. He wrote a large number of dramas which were published, between 1918 and 1935, under the collective title of Maschere nude [Naked Masks]. The title is programmatic. Pirandello is always preoccupied with the problem of identity. The self exists to him only in relation to others; it consists of changing facets that hide an inscrutable abyss. In a play like Cosí é (se vi pare) (1918) [Right You Are (If You Think You Are)], two people hold contradictory notions about the identity of a third person. The protagonist in Vestire gli ignudi (1923) [To Clothe the Naked] tries to establish her individuality by assuming various identities, which are successively stripped from her; she gradually realizes her true position in the social order and in the end dies «naked», without a social mask, in both her own and her friends’ eyes. Similarly in Enrico IV (1922) [Henry IV] a man supposedly mad imagines that he is a medieval emperor, and his imagination and reality are strangely confused. The conflict between illusion and reality is central in La vita che ti diedi (1924) [The Life I Gave You] in which Anna’s long-lost son returns home and contradicts her mental conception of him. However, his death resolves Anna’s conflict; she clings to illusion rather than to reality. The analysis and dissolution of a unified self are carried to an extreme in Sei personaggi in cerca d’autore (1921) [Six Characters in Search of An Author] where the stage itself, the symbol of appearance versus reality, becomes the setting of the play.

The attitudes expressed in L’Umorismo [Humour], an early essay (1908), are fundamental to all of Pirandello’s plays. His characters attempt to fulfil their self-seeking roles and are defeated by life itself which, always changing, enables them to see their perversity. This is Pirandello’s humour, an irony which arises from the contradictions inherent in life.

From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969

This autobiography/biography was written at the time of the award and first published in the book series Les Prix Nobel. It was later edited and republished in Nobel Lectures. To cite this document, always state the source as shown above.

Luigi Pirandello died on December 10, 1936.




Giovanni "Gianni" Rodari (23 October 1920 – 14 April 1980) was an Italian writer and journalist, most famous for his children's books, notably Il romanzo di Cipollino. For his lasting contribution as a children's writer he received the biennial Hans Christian Andersen Medal in 1970^[1][2] and many consider him Italy's most important twentieth-century children's author. His books have been translated into many languages, though few have been published in English.

Rodari was born in Omegna, a small town on Lake Orta in the province of Novara in northern Italy. His father, a baker, died when Rodari was only eight. Rodari and his two brothers, Cesare and Mario, were raised by his mother in her native village, in the province of Varese. After three years at the seminary in Seveso, Rodari received his teacher's diploma at the age of seventeen and began to teach elementary classes in rural schools of the Varese district. He had interest in music (three years of violin lessons) and literature (discovered the works of Nietzsche, Schopenhauer, Lenin and Trotsky which sharpened his critical sense). In 1939, for a short time, Rodari attended the Catholic University of Milan.

During World War II, Rodari had a deferment from the army due to his ill health. Due to his precarious financial situation, he applied for work at the Casa del Fascio and was forced to join the National Fascist Party. Traumatized by the loss of his two best friends and his favorite brother Cesare's incarceration in a German concentration camp, Rodari joined the Italian Communist Party in 1944 and participated in the Italian resistance movement.

In 1948, as a journalist for the Communist periodical L'Unità, he began writing books for children. In 1950, the Party installed him as editor of the new weekly children's magazine Il Pioniere in Rome. In 1951, Rodari published his first books, Il Libro delle Filastrocche and Il Romanzo di Cipollino.

In 1952, he traveled for the first time to the Soviet Union, which he frequented thereafter. In 1953, he married Maria Teresa Feretti, who four years later gave birth to their daughter, Paola. In 1957, Rodari passed the exam to become a professional journalist.

Rodari spent the years 1966–1969 working intensively on collaborative projects with children. In 1970 he received the Hans Christian Andersen Medal for children's literature,^[1][2] which gained him a wide international reputation as the best modern children's writer in Italian. The biennial award by the International Board on Books for Young People is the highest recognition available to a writer or illustrator of children's books. His works have been translated into numerous languages.

In 1979, after another trip to the Soviet Union, his health, never very robust, declined and his productivity diminished. He died in Rome, following a surgical operation, in April 1980