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About the book
  • Published: 1 August 2011
  • ISBN: 9781446414217
  • Imprint: Vintage Digital
  • Format: EBook
  • Pages: 144

The Castle Of Crossed Destinies




'A shamelessly original work of art' New York Times

IN THE CASTLE OF CROSSED DESTINIES Italo Calvino's inspiration turns the seventy-eight tarot-cards to an entirely new use that links image and word to the purposes of narrative: a band of travellers, trapped in an ominous castle in the heart of a wood, find themselves struck dunb, and are only albe to converse by using the tarot cards to tell each other how they came to the castle. Behind the printed images flicker visions of forests, cities, deserts: the garish colours blend to call up Oedipus, Orlando, Macbeth, expand to encompass the private idyll and the universal holocaust.

  • Pub date: 1 August 2011
  • ISBN: 9781446414217
  • Imprint: Vintage Digital
  • Format: EBook
  • Pages: 144

About the Author

Italo Calvino

Italo Calvino was born in Cuba in 1923 and grew up in Italy. He was an essayist and journalist and a member of the editorial staff of Einaudi in Turin. One of the most respected writers of the twentieth century, his best-known works of fiction include Invisible Cities, If on a Winter's Night a Traveller, Marcovaldo and Mr Palomar. In 1973 he won the prestigious Premio Feltrinelli. He died in 1985. A collection of Calvino's posthumous personal writings, The Hermit in Paris, was published in 2003.

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Praise for The Castle Of Crossed Destinies

“Italo Calvino has advanced far beyond his American and English contemporaries. As they continue to look for the place where the spiders make their nests, Calvino has not only found this special place but learned how himself to make fantastic webs of prose to which all things adhere”

Gore Vidal

“The interlinking of tales is incredibly complex and subtle: a history of all human consciousness through the myths of Oedipus, Parsifal, Faust, Hamlet and so on. The Castle of Crossed destinies is a shamelessly original work of art-beautiful in the sense that it is the careful statement of an artist we have learned to trust”

New Yorker


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