Pergamena ci racconta “Malinteso a Mosca” by Simone de Beauvoir –

PONTE ALLE GRAZIE, MILANO, (1965) 2021, pp. 133

While the war continues in all its ferocity in Ukraine and is almost totally on the radar of the Italian electoral campaign, it is not fosse for the incombente energy crisis, I will talk about this book, that I am the captain of the legger thanks to my moglie, e che riflette another period of war, i quali abbondano nella storia umana. È la pace ad essere una parentesi breve tra due guerre.

It is a short romance that recounts an episode of the story of Nicole and André, due to French insegnanti in pensione, who in 1963 in the wake of Stalinization, who anchored in the “fredda war”, made a trip to Mosca to go to find Masha, figure di primo letto di André, the quale has married a Russian.

The voice of the narrator is the alter ego of Simone de Beauvoir, considered the founder of feminism, and of the essentialist philosopher Jean-Paul Sartre, who had a relationship lasting more than 50 years, she had diventare mai un ufficiale marriage, very open, ma vissuta con grande emotional and erotic participation.

Il romanzo did not enter a far part of the raccolta di racconti “Una donna spezzata” (1967), “per motivi non del tutto chiari, probably non letterari, given its indubbia qualità”, as recited by the risvolto di copertina. Quindi il romanzo è rimasto del tutto sconosciuto.

The curator of the edition, Isabella Mattazzi, in her interesting “Post-fazione”, chiarisce from 1965 to 1967 Simone de Beauvoir writes the text passing through the voice of the narrator simmetrically to one, that female. My sows a più ragione that is sufficient in the passage that carries “L’età della discretion”, the version of the romanzo già nota.

“Tra un text e l’altro il malinteso è scomparso. Also Mosca is shared. Remains so much of the stage of the due protagonist, André and Nicole, a strongly present element in the midst and testimony and now diventato tempo della discretion”, says the curator in Postfazione. Nelle due versioni jumps into the historical and political contest, very present in this first version with André’s impegno in the French sinistra and with all the accent after his “powerlessness” of him. Salta il riferimento agli incombenti pericoli dell’escalation atomica. The second version rhymes only sadness for the old, which is a dominant theme: in particular, Andrè’s figure is worried about restoring all the figures Masha has a desolate image: “an old pensioner who hasn’t combined”.

Eppure questo intreccio ha una forza: sulla perdita della giovinezza gravel also la delusione per le speranze politiche cadute. L’USSR all’epoca nella sinistra Europea aveva perso il suo fascino “revoluzionario”.

The second version privileges the female point of view, which is presented – not only by Andrè – but also by Nicole gives a little loss of the body. Nell’episodio in which a giovane amico di André is presented to him: “Per lei, lui was a maschio, giovane e attraente; per lui, lei was asessuata quanto una vecchia di ottant’anni”. E’ qui sul versante strettamente erotico che emerges il malinteso nella coppia. The story is apparently trivial: Andrè decides with Masha to give Mosca a tenth day in più (as father is all I promise to recover the rapport with the figlia prima trascurata), he thought to see it, he told Nicole, who has never had a traccia Say this communication.

Nicole felt like she was wandering, non-amata, è furiosa perché Andrè has avoided di rimanere solo con lei: “continuava a non poter mai stare da solo con lui”. Simone de Beauvior has a great skill in describing the malicious: one of the owners does not feel understood by others, I will communicate and do not see risks. The description of the Malinteso is magistrale como sa bene chi ha experienza di rapporti intensi del lungo corso, in which ognuno attributes all’altro the responsabilità dell’incomprehension. Qui c’è a particolare element: that of the “oedipal triangle”, which emerges with potenza and with the particolarità di essere osservato da tutti i vertici, not only da quello freudiano classico del figlio. The theme of the “third person” is tra i coniugi, prima apparently innocua (“a third person is not a nuisance”) and it is very obvious, even seen from the feminine point of view of Nicole, when speaking of the figure maschio lontano Nicole lives badly the presence of Masha tra lei e André, ma dà per sentato the presence of her figlio Philippe de ella. André replies: “Perché è mio figlio? e’ communicate a terzo fra noi”.

Il romanzo si chiude with a new balance of the coppia, that lascio alla curiosity of the letter, and anticipate that the subject is the old, that dominant in the second step.

We wish to thank the author of this write-up for this outstanding content

Pergamena ci racconta “Malinteso a Mosca” by Simone de Beauvoir –

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