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A Life

April 8, 2016 by Roy Johnson

tutorial, commentary, study resources, and web links

A Life (Una vita) was the first novel written by Italo Svevo, and like all his other works it was published at his own expense. He wrote it in 1888 and originally gave it the title Un inetto (A Bungler). Svevo submitted his manuscript to the publishing house Treves, where it was turned down. Eventually it was accepted by Vram and published in 1892, with the stipulation that the title be changed and Svevo pay for the printing. Once published, it was completely ignored. Not until twenty years later did Svevo find any degree of literary success, following the support and encouragement of his English language teacher, the young James Joyce, who was living in exile in Trieste at the time.

A Life

Italo Svevo


A Life – critical commentary

Setting

Although it is not explicitly named in the text, there is no reason for thinking that the location of events is anywhere other than Trieste. Svevo set all his major novels in his native city. Characters go for walks along the Corso; the city is located on the sea; and the bank of Maller & Company has commercial relationships with Italy, Germany, and France – all of which were close geographic and political connections with Trieste, the fourth largest city of the Hapsburg Empire and its only Mediterranean sea port in the late nineteenth century.

The main theme

As its original title implies (Un inetto – An Inept One) the novel is a study in social alienation and personal failure. Alfonso is in one sense a precursor of the modern and existential anti-hero. He acts from the best motives and strives for honourable and spiritually elevated relationships with those around him, but he is defeated by petty bureaucracy on one hand and his own emotional weakness on the other.

Svevo repeatedly dwells on the ironic twists of fate that beset his protagonist. At the start of the novel Alfonso feels that he is not well regarded in his lowly position of correspondence clerk, yet his boss and head of the bank Signor Maller specifically assures him that he respects his work, and proves it by inviting him to his home.

This gives Alfonso the opportunity to meet Annetta, the attractive daughter of his boss – yet it is significant that having socially recognised Alfonso with an invitation to his own house, Signor Maller absents himself on the occasion of his visit, and Alfonso is left to the frosty reception provided by Annetta and the housekeeper Francesca (who is also Maller’s ex-mistress).

Alfonso is in an ambiguous position in terms of social position – from a lower middle-class family, with enough education to escape his rural native village and to secure a clerk’s job in the city, but not enough status or capital to mix easily with those he sees as his peers. He inherits money from the sale of his family home following the death of his mother – but he improvidently sells it for below its market value. He is yearning ambitiously for connections that are socially beyond his means. His relationship with his boss’s daughter Annetta only exposes him to suspicions of fortune hunting, as well as being emotionally calamitous.

He is noble and self-sacrificing in nursing his dying mother , and with his inheritance he provides a dowry for the unlovely daughter of his landlady – only to have his generosity misunderstood and even held against him.

Alfonso is similar to one of Kafka’s characters – Franz Kafka being a writer who Svevo clearly prefigures. Alfonso’s plight would be one of comic misunderstanding if it were not so painful and ultimately tragic. The scene where his feckless landlord Lanucci tries to sell him a personal insurance policy he neither needs nor can afford is like a passage from another tragedian of the comic grotesque – Samuel Beckett.

Pre post-modernism

There are elements of post-modern meta-fiction in the text. Annetta suggests writing a novel collaboratively with a plot which is Alfonso’s own story of a provincial boy who falls in love with a rich woman. This is also the plot of Una vita in which they are both characters. This theme is not explored or developed any further, since once Alfonso returns to his native village and his dying mother, the subjects of his literary collaboration and his relationship with Annetta are both abandoned.

Tightness of structure is not one of Svevo’s strong points as a novelist. He follows the day to day events of Alfonso’s life in an almost naturalistic manner, which renders the account tedious. Apart from the slow-moving development of Alfonso’s relationship with Annetta, there is a noticeable absence of any narrative tension or drama. Instead, the narrative comprises a detailed account of the minutiae of psychological processes – the relentless analysis of people’s conversations, their possible and actual motivations, and the cataloguing of trivial events. Svevo’s interest seems to be mainly in the shifting, contradictory, and sometimes paradoxical nature of human consciousness – something he was to explore in even further detail in Confessions of Zeno (1925).

The only evidence of formal structure to the novel is the fact that it begins and ends with two letters. The first is from Alfonso to his mother expressing his homesickness, and the second is from the bank to the family solicitor disclaiming any financial responsibility following Alfonso’s suicide.


A Life – study resources

A Life A Life – Secker & Warburg- Amazon UK

A Life A Life – Secker & Warburg – Amazon US

A Life As A Man Grows Older – NYRB Classics – Amazon UK

A Life As A Man Grows Older – NYRB Classics – Amazon US

A Life Confessions of Zeno – Penguin Classics – Amazon UK

A Life Confessions of Zeno – Penguin Classics – Amazon US

A Life Italo Svevo: A Double Life – Clarendon Press – Amazon UK

A Life Italo Svevo: A Double Life – Clarendon Press – Amazon US

A Life Svevo’s London Writings – Troubador Press – Amazon UK

A Life Svevo’s London Writings – Troubador Press – Amazon US


A Life – chapter summaries

1   Alfonso Nitti writes a letter to his mother back home in the countryside. He is poor, homesick, and feels inferior in his work at the bank.

2   The clerks at Maller and Company are kept late copying letters. Signor Maller knows that Alfonso has written home complaining and reassures him that he is well regarded. Alfonso has ambitions, but they are daydreams.

3   Alfonso lodges with the impoverished Lanucci family. Signor Lanucci gauchely tries to sell Alfonso life insurance that he cannot afford and does not need.

4   Alfonso is invited to Signor Maller’s house. He is impressed by his boss’s wealth, but Signor Maller leaves him with his housekeeper Francesca and daughter Annetta, who treats him very rudely. Annetta’s cousin Macario later explains that she is snobbishly disdainful towards her father’s employees.

5   Alfonso and his work colleagues are trapped in a routine of petty rivalries and bureaucratic divisions of responsibility – as a result of which Alfonso receives a promotion.

6   Alfonso finds his new work very demanding. To relieve his sense of alienation he takes up the study of philosophy and criticism.

7   Driven by romantic desire, Alfonso takes to following women in the street – but he is too timid to make any serious contact with any of them. He gives lessons in Italian grammar to Lucia Lanucci, but she is not a good student. They quarrel, and Alfonso believes Signora Lanucci is trying to snare him into a relationship with her daughter.

8   Alfonso falls ill and takes up walking every day as a cure. He also launches an ambition to write a philosophic thesis, but gets nowhere with it. He meets Macario in the library: they discuss literature and both read Balzac’s Louis Lamberrt.

9   Alfonso pays a second visit to the Maller family home, where he finds Annetta very friendly and encouraging. But Francesca is rather distant with him.

10   Francesca asks Alfonso’s mother for a room in her house, but Signor Maller countermands this request. Alfonso decides he is in love with Annetta, but when he attends her Wednesday salon he feels no desire for her.

11   When Alfonso visits Annetta on his own, she has the idea of writing a novel in collaboration, and she suggests a plot which is exactly Alfonso’s own story. They describe to each other ‘previous works’ that they haven’t actually written. But Alfonso doesn’t know how to begin writing.

12   They collaborate enthusiastically, but Annetta asks Alfonso to re-write his drafts because she claims they are dull. Writing the novel becomes as burdensome to him as working at the bank, but he suppresses his criticisms of the novel because of his rapture for Annetta. He discovers that Fumigi is also in love with Annetta and has plans to marry her. Annetta turns down Fumigi’s offer, but she reproaches Alfonso for compromising her social reputation. Fumigi later appears in an agitated state, which Prarchi diagnoses as incipient paralysis.

13   The Lanucci family become further impoverished. Alfonso is encouraged to bring friends home to pay court to Lucia. Finally, the printer Mario Gralli is prepared to marry her.

14   Francesca advises Alfonso to win Annetta by feigning coldness, but he finds it very difficult. They start work on the novel again, and eventually they spend a night together and become lovers.

15   The next day Alfonso feels disappointed. Annetta is going to tell her father, and advises Alfonso to leave Trieste for a while, before the marriage. Francesca advises him not to leave. Next day he is given a fortnight’s leave from the bank.

16   When Alfonso returns to his native village he discovers that his mother is dying. He feels ashamed of his dalliance with Annetta. A letter from Francesca tells him that all will be lost unless he returns, but the bank grant him an additional two weeks’ leave. He nurses his mother through to her death, then he himself gets typhoid fever. He sells the house for much less than its value, and returns to Trieste.

17   On return he learns that Annetta is now engaged to marry Macario, and Lucia has been jilted by Gralli. He is received in a cool manner at the bank, and the Lanucci family is beset by anxieties following Lucia’s problems.

18   Alfonso works hard at the bank and eventually finds some satisfaction from his job. There are rivalries over the appointment of a branch manager for the Venice office. Alfonso preaches stoicism to Lucia but cannot suppress the jealousy aroused by his rival Macario.

19   Lucia has been made pregnant by Gralli, who refuses to marry her. Alfonso offers to pay Lucia’s dowry, and Gralli changes his mind. The Lanucci family are reluctantly grateful, but Lucia does not love Gralli, so Alfonso’s generous gesture is wasted.

20   The bank clerks are given their annual bonuses, but Alfonso is demoted to the counting room. He protests to Maller, but to no effect. Feeling unjustly persecuted, he appeals to Annetta for a meeting. However, at the appointed hour Annetta’s brother appears and challenges him to a duel. Alfonso goes home and commits suicide.


A Life – principal characters
Alfonso Nitti a bank correspondence clerk (22)
Signora Carolina Nitti his widowed mother
Maller & Co the bank where Alfonso works
Signor Maller his austere boss
Annetta Maller his attractive daughter
Frederico Maller Annetta’s brother
Signor Lanucci Alfonso’s feckless landlord, a sales representative
Signora Lucinda Lanucci a friend of Alfonso’s mother
Gustavo Lanucci their son (18)
Lucinda Lanucci their unattractive daughter (16)
Signora Francesca Barrini Maller’s housekeeper and his ex-mistress
Avvocato Macario Maller’s nephew, and lawyer
Signor Fumigi a maths enthusiast and inventor
Doctor Prarchi a member of Annetta’s salon
Signor Gralli a printer, suitor to Lucia
Signor Marotti notary to the Nitti family

© Roy Johnson 2016


More on Italo Svevo
Twentieth century literature


Filed Under: Italo Svevo Tagged With: Italo Svevo, Literary studies, The novel

As A Man Grows Older

February 27, 2016 by Roy Johnson

tutorial, critical commentary, plot and study resources

As A Man Grows Older (Senilità) was first published in 1898, and like all of Italo Svevo’s other books, it was published at his own expense. His first novel A Life (Una Vita) had appeared five years earlier and had been completely ignored. The same fate befell Senelità and Svevo was so discouraged by this lack of success that he virtually gave up writing for the next twenty-five years. But in 19o7 he was being tutored at the Berlitz School of languages in Trieste by a young James Joyce who had gone to live in exile there. Svevo showed the novel to Joyce, who encouraged and championed his work. It was Joyce who suggested the English title for the novel, and it was eventually translated into English in 1932.

As A Man Grows Older

Italo Svevo


As A Man Grows Older – commentary

Modernism

At a surface reading, As A Man Grows Older appears to be a rather traditional, low-key novel whose subject is not much more than an unsuccessful love affair. But it has many of the elements of modernism that were to be developed in the three decades that followed its publication.

The novel has a noticeable lack of dramatic tension, and attention is focussed instead on psychological analysis and presentation. The protagonist is an anti-hero who fails in almost everything he attempts. There are also modernist elements of unreliable witness, since the majority of events are seen from Emilio’s point of view, and he repeatedly misjudges people and attributes motives to other characters for which he has no evidence, and these attributions often turn out to be wrong.

There is a great deal of emphasis on the modern city as the theatre of events. All the drama in Emilio’s life takes place between the claustrophobic apartment he shares with his sister, and the public spaces which are the backdrop to his courtship of Angiolina

Characters

Emilio is both the protagonist of the novel, and the point of view through which almost all events are seen. He wishes to present himself in a positive light – but he is inept, he deceives himself, misreads others, and is a self-deceiving character, full of comic contradictions. There is a persistent disjuncture between his intentions and his actions. He is irresolute, he changes his mind, is indiscreet, and is trapped in what is often seen as a satirical or ironic attitude to life.

Stefano is something of an alter-ego figure to Emilio. He is muscular, handsome, and energetic – everything that Emilio is not. He is a rich and successful artist (though very little convincing evidence is provided for this) and most importantly he is successful with women. Emilio looks to him for advice regarding his love life and even his dying sister.

Angiolina is presented largely from Emilio’s point of view as an attractive woman, but it becomes rapidly obvious to the reader that she is first a flirt, then a schemer, and finally (even to Emilio) a whore. She is certainly a convincingly erotic figure, but from the start we know she has a record of former affairs (with Merighi for instance). For a poor girl, she is also suspiciously well dressed and has a luxuriously furnished room in the family apartment.

Her scheming nature is revealed when she devises the strategy of establishing a ‘decoy’ relationship as a safety net before she gives herself to Emilio. She becomes engaged to the ugly tailor Volpini as a social fall-back. But all this time she is accepting money from Emilio, and eventually her stories of visiting the Deluigi family are exposed as lies. At the end of the novel she has run off to Vienna with a man who has robbed a bank.

The modern city

It is interesting to note that As A Man Grows Older was written in a period at the end of the nineteenth and beginning of the twentieth century which saw the production of a number of novels that featured the city as the symbol of modern industrial and commercial life (though Charles Dickens had done the same in the middle of the nineteenth century for the establishment of the Industrial Revolution).

Andrei Biely’s Petersburg appeared in 1916, set in what was then the capital of pre-revolutionary Russia. In 1922 James Joyce’s Ulysses featured the Irish capital Dublin as it was in 1904. Virginia Woolf’s Mrs Dalloway, published in 1925 is set exclusively in London, and Alfred Doblin’s Berlin Alexanderplatz (1929) is a portrait of the capital of the Weimar republic of the 1920s. Similarly, a huge amount of Kafka’s work is set in Prague, although he rarely names the streets and buildings, and Manhattan Transfer (1925) by John Dos Passos is almost a prose poem to New York City.

What all these novels did was to position the modern city as the location of modern sensibility. All the events of As A Man Grows Older take place in Trieste – which at that period was the fourth largest city of the Hapsburg Empire, its most important port, and a centre for literature and music. It is entirely in keeping with this culture that Emilio has published a novel, and at one point attends a concert of Die Walküre.

To many readers (particularly English-speaking) Trieste probably seemed like ‘a faraway place’ of no consequence that they had never heard of – but in fact it was a crucial centre of commercial and military power in an Empire which just happened to be on the verge of collapse. Svevo was an appropriate chronicler of its fortunes in the character of Emilio Brentani who symbolises lethargy, failure, despondency, and self-regard.

The complex relationships between Svevo’s work and language with these political ambiguities are addressed by Eduardo Roditti in his introduction to Confessions of Zeno:

Svevo’s works are indeed difficult to place properly in the complex and conflicting traditions of the Italian novel. The society that he describes is not typically Italian: his characters illustrate many qualities and faults of the Austrian bourgeoisie; his language, far from being the literary Tuscan of classical idealists or a colourful dialect such as the regional realists or Veristi affected, is rather the sophisticated and nerveless jargon of the educated Triestine bourgeoisie which spoke Italian neither as a literary nor as a national language, but as a convenient and easy manifestation of local patriotism.

The Kafka connection

The Argentinean writer Jorge Luis Borges, discussing similarities in the work of Robert Browning and Franz Kafka, observed:

The poem ‘Fears and Scruples’ by Browning foretells Kafka’s work, but our reading of Kafka perceptibly sharpens and deflects our reading of the poem. Browning did not read it as we do now. In the critics’ vocabulary, the word ‘precursor’ is indispensable, but it should be cleansed of all connotation of polemics or rivalry. The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future.

There is a very good case to be made for Svevo as a precursor to Kafka. Emilio Brentani the contradictory, obsessive, and self-analysing protagonist of As A Man Grows Older could step directly out of any number of Kafka’s stories and novels – from Gregor Samsa in Metamorphosis to Joseph K in The Trial.

But there are equally good reasons of a material, geographic, and cultural origin to explain the similarity between the two writers. First, the two men were contemporaries. Although Svevo was older and started writing earlier, they died within four years of each other in the 1920s. Second, they were both born in what was then the Hapsburg Empire, the Austro-Hungarian political dynasty whose domination reached from Prague to the Mediterranean port of Trieste.

Both Svevo and Kafka had fathers who were German-Jewish businessmen, and both of them were non-practising Jews. Both writers were raised in a linguistically ambiguous environment. Svevo’s family spoke a Triestine dialect, but Svevo himself was educated in German and wrote in Italian. Kafka lived in a Czech culture, was part of a Jewish family, and was educated (and wrote) in German. This level of cultural ambiguity was a product of the imperialism of the Hapsburg Empire which had sought to impose itself on very diverse ethnic groups and nationalities. As writers, both of them worked professionally in commercial offices – Svevo in banking, Kafka in insurance – and both of them wrote in the evening, produced a lot, but published little.

There are two further similarities. Both of them chose neurotically obsessive characters as their protagonists – characters who are ill at ease in the society they inhabit. When a problem occurs, every possible explanation or solution is examined in fine detail, including the possible motives of the other people involved. This level of pathologically neurotic behaviour is a function of both social insecurity and existential anxiety – both of which became well-recognised features of the early twentieth century. It is no accident that writers such as Svevo and Kafka were interested in the writings of Schopenhauer, Kierkegaard, and Freud. Indeed, Svevo went on to produce his third novel Confessions of Zeno entirely posited on the notion of a character who is undergoing Freudian analysis – with a semi-comic lack of success.

The second similarity is the spatial obverse of the capital city as a setting of events – the family apartment building as the site of claustrophobic domestic life. Both writers feature heavily the geography of the apartment with its adjoining rooms, its lack of privacy, and its inhabitants who are forced to overhear each other’s conversations and take into account sleeping arrangements and the clothes they can wear.

The apartment is technically the scene of private, domestic life as distinct from the public life of the streets. But the contiguity of the tiny rooms becomes an oppressive symbol of the intrusion of domestic responsibilities onto the dignity of the individual. At one point Emilio overhears his sister’s private thoughts because she talks in her sleep, and then is forced to hold a conversation with her conducted through the keyhole of an adjoining door, all the time dressed in his nightshirt. This is the sister who will shortly afterwards die very painfully in the very same room, dressed only in her own thin chemise.

As A Man Grows Older


As A Man Grows Older – study resources

As A Man Grows Older A Life – Secker & Warburg- Amazon UK

As A Man Grows Older A Life – Secker & Warburg – Amazon US

As A Man Grows Older As A Man Grows Older – NYRB Classics – Amazon UK

As A Man Grows Older As A Man Grows Older – NYRB Classics – Amazon US

As A Man Grows Older Confessions of Zeno – Penguin Classics – Amazon UK

As A Man Grows Older Confessions of Zeno – Penguin Classics – Amazon US

As A Man Grows Older Italo Svevo: A Double Life – Clarendon Press – Amazon UK

As A Man Grows Older Italo Svevo: A Double Life – Clarendon Press – Amazon US

As A Man Grows Older Svevo’s London Writings – Troubador Press – Amazon UK

As A Man Grows Older Svevo’s London Writings – Troubador Press – Amazon US


As A Man Grows Older – chapter summaries

I.   Emilio Brentani works in an insurance office, has published a novel, and lives a quiet humdrum existence with his younger sister, who looks after him. When he meets attractive young Angiolina he thinks he can enjoy a flirtation without any responsibilities or consequences. He learns that she has been involved in romantic intrigues in the past, but this only arouses his interest even more. He confides in his spinster sister Amalia.

II.   Emilio rather gauchely questions Angiolina about her past. He has no real experience of life himself, but he conceives a plan of ‘educating’ her. He misinterprets her reactions to him and advises her to be more unscrupulous, which she finds insulting. He objects to her name, and uses French diminutives when addressing her. At home his sister reproaches him for leaving her alone, which only makes him angry.

III.   Emilio calls unannounced at Angiolina’s house and is vexed to see that she has photos of men in her luxurious reception room. When she goes away to visit some friends of her family, Emilio criticises her to his friend Stefano Balli. Later, as he and Angiolina approach the point of sexually consummating their relationship, she suggests that they need a third party on whom they could blame any ‘consequences’. But when she announces that she has become engaged to Volpini, a short and ugly tailor, Emilio thinks of her as a ‘lost woman’.

IV.   Emilio is disconcerted by Angiolina’s flirtatious behaviour when they are in public together. He seeks advice from his fiend Stefano, who suggests an outing a quatre with his girl friend Margherita. But when they meet, Stefano behaves boorishly and flirts with Angiolina, who responds coquettishly. Volpini the tailor postpones the marriage for a year, but insists he cannot wait that long to possess Angiolina.

V.   When Stefano calls to see Emilio the next day his friend reproaches him for his bad behaviour. They argue and Emilio’s sister (who is in love with Stefano) is asked to adjudicate in the dispute. She takes Stefano’s part in the disagreement. Over dinner Stefano boastfully recounts the story of his rich patron who has left him all his money. Stefano discovers that his girlfriend Margherita has other men in her life, and he vows to get rid of her.

VI.   Stefano sees Angiolina in town with an umbrella-maker. He sends for Emilio to expose her duplicity. He urges Emilio to give up Angiolina, as he will give up Margherita. Emilio rehearses how he will avenge himself on Angiolina, and walks around the town trying to find her – without success. He goes home to hear his sister talking in her sleep.

VII.   Next day he goes to Angiolina’s house intending to expose her duplicity – but he fails to do so. She lies to him about the previous night. Eventually he breaks off the relationship, then walks around town looking forward to meeting her again ‘some time’. He meets Sorniani who confirms that Angiolina has had several lovers. Then he bumps into Leardi, from whom he tries to extract further information about Angiolina, but without success.

VIII.   The next day Emilio confers with his friend Stefano again, and is clearly jealous of his friend’s liberty to have access to Angiolina. Overhearing his sister talking in her sleep again about Stefano, he realises that she is in love with him, and vows to ‘save’ her. After another dinner, he accuses Stefano of compromising Amalia by his regular visits. Stefano protests his innocence, and the two friends are eventually reconciled.

IX.   Stefano stops visiting the house, which makes Emilio feel very sorry for his sister. He confides in her about Angiolina, who he has not seen for a week. She cries and complains that Stefano has no right to assume that he is compromised by their regular meetings. She insists that Emilio make him resume his visits to the house. But when he does visit again he behave coldly towards Amalia. Emilio takes his sister to a concert, and feels uplifted by the music of Die Walkuyrie.

X.   Emilio’s anguish regarding Angiolina grows less, and he begins writing again, turning his relationship with Angiolina into a novel. But he is not satisfied with the results. He wants to see Angiolina again, and so does Stefano, who has the pretence that he wishes to model her. When Emilio meets Angiolina in the Gardino Pubblico one night, they become reconciled. She reveals that she has given herself to Volpini, but she takes Emilio back home and goes to bed with him. She asks him to keep the fact secret, to guard her social reputation. He immediately tells Stefano about it. He hires a room in a house, but the very gestures and language Angiolina uses inflame his jealous fear that she has other lovers. He is due to be reproached by her father, but the old man turns out to be slightly crazy.

XI.   Stefano makes the sculpture of Angiolina, but he respects Emilio’s jealous fears. Emilio visits the artist’s studio where Stefano is seen as a positive and creative being. Emilio is happy in his sexual relationship with Angiolina, but he becomes jealous again when he thinks it is a result of Stefano’s influence. The tailor Volpini breaks off his engagement to Angiolina because of her reputation. Emilio helps her to write a letter back to him in response.

XII.   When Emilio returns home he finds Amalia in a delirious state. A helpful neighbour stays with her whilst he goes to Stefano for advice. A doctor is summoned: he suggests that Amalia has been drinking. Emilio is doubtful about both his diagnosis and his remedial prescription. Emilio feels guilty about neglecting his sister, and thinks this is a good reason for breaking off his relationship with Angiolina. When Stefano reveals that Angiolina has made advances to him, Emilio meets her and challenges her with accusations of multiple infidelities, calling her a whore. They argue, whereupon she leaves him..

XIII.   Amalia’s delirium continues. She invents a rival called Vittoria, and drifts from one deluded topic to another. The neighbour Elena tells them the sad story of her ungrateful stepchildren, during which more of Angiolina’s lies are revealed. Emilio wants to see her again – just to reproach her. Meanwhile he discovers that Amalia has been taking drugs. Here delirium eventually peters out, and she dies.

XIV.   Some time later Emilio hears that Angiolina has run off to Vienna with man who has robbed a bank. He visits Signora Elena and then Signora Zarrii, and ends by blending together memories of both Angiolina and Amalia to produce a comforting amalgam of the two.


As A Man Grows Older – principal characters
Emilio Brentani a bachelor insurance clerk (35)
Amalia Brentani his younger sister, a plain spinster
Angiolina Zarri a poor but very attractive young woman
Signora Zarri Angiolina’s mother
Stefano Barri Emilio’s best friend, a rich sculptor
Sarniani a lady’s man and gossip
Merighi Angiolina’s former lover, a businessman
Leardi a womaniser
Datti a photographer
Volpini a small ugly tailor, Angiolina’s fianceé
Margherita Stefano’s tall girlfriend
Signora Paracci landlady of a rooming house
Signora Elena Chierici Emilio’s helpful neighbour

© Roy Johnson 2016


More on Italo Svevo
Twentieth century literature


Filed Under: Italo Svevo Tagged With: Italo Svevo, Literary studies, Modernism, The novel

Italo Svevo biography

February 24, 2016 by Roy Johnson

his life, writings, and cultural context

Italo Svevo was the pen name of the Austro-Italian writer Aron Ettore Schmitz. He was born in 1861 in Trieste, which at that time was part of the Hapsburg Austro-Hungarian empire – and remained so until the end of the first world war. His mother was Italian, and his father a German Jewish businessman. He was educated with his brothers at a commercial school in Wurzburg, Germany, where he became fluent in the language. Italian was actually his second language, the first being the Triestine dialect which was used at home.

Italo Svevo

After two further years of business studies in Trieste, he was forced to abandon his studies when his father’s glassware business went bankrupt. He took up employment as a correspondence clerk in the Viennese Union Bank, where he stayed for the next twenty years. During this time he produced his first novel, Una vita (A Life) (1893). Like all his other books, it was published at his own expense.

Following the death of his parents he married his cousin Livia Veneziano, the daughter of a wealthy Italian who manufactured specialised industrial paints used on warships. In 1897 he became a partner in his father-in-law’s business and was quite successful in commercial activities, making profitable excursions to France and Germany, and setting up a branch of the company in England.

In 1898 he published his second novel Senilità (As a Man Grows Older). Both of these novels were largely ignored at the time, but in 1907 Svevo was enrolled at the Berlitz School of Languages to learn English, where his tutor was a twenty-five year old James Joyce, who had taken up exile in Trieste. Joyce read the novels and championed Svevo’s work. The two men became great friends.

However, Svevo was discouraged by his lack of literary success, and appears to have given up writing completely around that time. He devoted the next twenty-five years to his work as a representative for the family paint business in which, despite his cultural and intellectual interests, he was successfully enterprising. He lived for some time in the borough of Greenwich in south London, documenting the differences he encountered in Edwardian English culture in a series of letters he wrote to his wife: This England is So Different: Italo Svevo’s London Writings.

In 1925 when Svevo published La Conscienza di Zeno (Confessions of Zeno), Joyce arranged for the work to be translated into French and published in Paris. The work was critically acclaimed and marked his first major success. He entered into a second phase of creativity and produced a number of stories, a novella, and an unfinished novel. He spent the last years of his life lecturing on his own work and writing Further Confessions of Zeno, which was never completed. In 1928 he was involved in a motoring accident in Trieste and he died a few days later from his injuries.


Italo Svevo – principal works

Italo Svevo 1893 – Una vita (A Life)

Italo Svevo 1898 – Senilità (As a Man Grows Older

Italo Svevo 1925 – La conscienza di Zeno (Confessions of Zeno)

Italo Svevo 1926 – La novella del buon vecchio e della bella fanciulla

Italo Svevo 1926 – Una burla riuscita (A Perfect Hoax)

Italo Svevo 1927 – La madre (The Mother)


Italo Svevo


Italo Svevo – study resources

Italo Svevo A Life – Secker & Warburg- Amazon UK

Italo Svevo A Life – Secker & Warburg – Amazon US

Italo Svevo As A Man Grows Older – NYRB Classics – Amazon UK

Italo Svevo As A Man Grows Older – NYRB Classics – Amazon US

Italo Svevo Confessions of Zeno – Penguin Classics – Amazon UK

Italo Svevo Confessions of Zeno – Penguin Classics – Amazon US

Italo Svevo Italo Svevo: A Double Life – Clarendon Press – Amazon UK

Italo Svevo Italo Svevo: A Double Life – Clarendon Press – Amazon US

Italo Svevo Svevo’s London Writings – Troubador Press – Amazon UK

Italo Svevo Svevo’s London Writings – Troubador Press – Amazon US

© Roy Johnson 2016


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Filed Under: Biography, Italo Svevo Tagged With: Cultural history, Italo Svevo, Literary studies, Modernism

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