La mia idea di passeggiata
perfezionata nei corso di questi ultimi otto anni
vissuti a New York   implica un flusso di pensieri a ruota libera      . . .
Camminare è molto simile a scrivere
Sebbene siano quasi sempre attività solitarie entrambe       . . .   
sono alimentate dal desiderio di mettersi in relazione con gli altri

New York 18 agosto 1974

scrivere è migrare
ho origini ucraine, tedesche, ungheresi, inglesi. Le mie radici sono un viaggio .   In America esiste una pulsione all’antinazionalismo  :   è una conversione all’umanità .
giulio d' - 2023

Per me una delle cose divertenti è questa città all’interno della città. Quando ci cammini dentro è come camminare attraverso il tempo … chiunque sia cresciuto amando Italo Calvino ha un’idea dell’Italia come di una città invisibile, magica, una città che qualcuno ha inventato ed è strana, e questo le somiglia un po’, una città all’interno di questa, come una città segreta.
… è incredibile camminare qui e vedere come queste strade sono consumate, vedi quanta gente ha camminato qui, e pensi che Isabella d’Este era qui, esattamente qui.


Questo mi suggerisce aspetti differenti dell’anima
uno è quello dove l’umanità non c’è
e l’altro è dove c’è

festival  letteratura mantova 2008

ospite anche nel 2018

how do you like to read? paper or electronic? one book at a time or several simultaneously? morning or night?
Whenever there is time, and now that my children are 11 and 8, time is slowly returning to me.      The windows in my bedroom face east and have no curtains, and to wake up into that light and a book is joy as I know it.      I read many books at once, all of them paper.    I think the book must be the most perfect object ever designed by humans.     Their physical beauty and how well they work -  dayenu !  -  but then there is the way they often absorb their reader’s presence, too.     Tea, ink, greasy fingers, receipts, weather, but more than that, something of the spirit, too, so that years later you can take the book down off the shelf and a flash of your old self leaps out at you.      I won’t easily give that up . - 2017

annoverata tra le migliori scrittrici contemporanee
è nata nel 1974 a New York, dove vive. Dopo la laurea a Stanford e gli studi al Courtauld Institute of Art di Londra, è stata finalista allo Yale Younger Poet's Prize e le sue poesie sono apparse in riviste come la Paris Review e Doubltake.
Dopo aver completato i suoi studi a Oxford si è dedicata alla narrativa. Ha lavorato per la radio e ha pubblicato racconti su diverse riviste americane, tra cui The New Yorker, Esquire, Harper's, Best American Short Stories. Il suo primo ROMANZo Man Walks into a Room (Un uomo sulla soglia) pubblicato nel 2002 è stato selezionato per il Los Angeles Times Book Award.
Ma è con La storia dell’amore, pubblicato nel 2005, che Nicole Krauss ha raggiunto la consacrazione internazionale. Selezionato tra l’altro per l’Orange Prize, sono già stati acquistati i diritti cinematografici dalla Warner Brothers. Il film, diretto da Alfondo Cuaron, ESCE nelle sale DAL 2009.
nella foto con l'ex marito  - LO SCRITTORE  Jonathan Safran Foer   -   -   -   -
facebook   - 

How have you found the transition from poetry to fiction?
For a long time I only wanted to write poetry. But it's hard - a hard life, I mean.
There's that thing Auden said, about how a poet only believes himself to be a poet at the moment when he is making his last revision to a new poem. "The moment before, he was still only a potential poet: the moment after he is a man who has ceased to write poetry, perhaps forever." With a novel it's somehow easier: the duration of the writing is so much longer, and the unhappiness of the in-between less frequent. I had been working on a long-term project—a radio documentary about Joseph Brodsky for BBC—and I loved the feeling of waking up every morning and knowing there was something on my desk to return to. Something that was becoming larger and more complex over time, gaining weight and mass in my mind. When it was finally finished I suppose I felt a little empty. So I sat down and decided to try to write something bigger, and that became Man Walks into a Room. Once I knew that it was going to be a novel, I started to read a lot of contemporary fiction—especially American—to try to figure out how to do it. This is how you write a short sentence (when reading Salter), or this is how you do good dialogue (when reading Roth), etc. It was very important to me NOT to write what some people call a "poet's novel"—something driven largely by the momentum of language. I wanted a plot. I wanted characters that sounded like real people. I still wanted to use everything I'd learned writing poetry, but to a totally different effect.
Larry Weissman -

The Art of Relaxation in Turks and Caicos
She'd taken her kids to the Atacama Desert, to Sarajevo, even (in utero) to the Arctic. It was high time for some simple sea, sand, and sun. Nicole Krauss applies herself to the art of doing nothing
the first thing people always tell you about the Turks and Caicos, and often the only thing they tell you with any specificity, has to do with the water. I heard so much about the color and clarity of the water that upon landing in Providenciales, at thirty-eight square miles the longest island in the Turks and Caicos, I expected something on the spectrum I'd never seen before, activated by some secret fluorescence. I wasn't disappointed, though I don't think it’s possible for the sea to disappoint—it's like suggesting that the stars in the night sky could disappoint, or any timeless feature of nature which offers us a view onto eternity. The water that laps at the white, large-grained sand is indeed a startling electric blue, somewhere between turquoise, celeste, and cyan, though as it deepens it becomes something else entirely. And, yes, it is very clear; as people will repeatedly tell you, when you walk out in the water and look down, you can see your toes. But you can see your toes in the bathtub, too. 
... - facebook/krauss - 2013

do women get to write with authority ?
Both “author” and “authority” evolved from the Latin “augere” — to increase, to originate — and expanded in “author” to be someone who invents or causes something. Which returns me to a question that bothered me to no end when I was younger: Who gives her the right? Or more like: How does she take it? How does she claim for herself the authority to increase or originate, or invent or cause something, such as a book that people will read?    -NK - 2017




A hundred million migrants roam the planet.
They kick up a soft dust, from space they appear
To be weather, a little storm the wind

faithfully carries.

When it rains they lift their bowls to the sky.
They sleep with a rock under their heads.
At dawn they are the first to break

the photographic stillness.

They have lost all sense of distance.

A sort of arrival-late
Under darkening skies, the smell of miles

on your clothes-
A sort of arrival is needed to say how far

you've traveled.

The crunch of gravel in the neighbor's driveway.
He will join the road with those other

sedentary dreamers
The unnumbered who've found a home

just to leave it.

There is no good reason why night after night
I sleep here with you.
Only that the roof over our heads

has not yet fallen.



what is literature really?
Bolled down to a single sentence
i'd say it's this
a endless conversation about
what it means to be human
and to read literature is to engage  
in that conversation


illustration jillian tamaki


Nicole Krauss is the 2021 Winner of the Sami Rohr Prize for Jewish Literature !   The Sami Rohr Prize, awarded annually to a Jewish writer, recognizes the unique role of contemporary writers in the examination and transmission of the Jewish experience  .
fb/ ìnk -  -  16.3.2021





Incroci di Civiltà - festival internazionale letteratura - università Ca' Foscari - Venezia
inaugura  Nicole Krauss alla quale va il Premio Bortolotto Possati - Ca’ Foscari - 2021




Letter to Van Gogh
Dear Vincent,
You write about fear: Fear of the blank canvas, but also, on a larger scale, of the “infinitely meaningless, discouraging blank side” that life itself always turns toward us, and which can only be countered when a person “steps in and does something,” when he “breaks” or “violates.”
It’s extraordinary that I should have been given your letter now, because it is exactly that act of breaking that has been on my mind this last year, and which I feel has everything to do with how I want to make art, and how I want to live.
It’s a strange thing about the human mind that, despite its capacity and its abundant freedom, its default is to function in a repeating pattern. It watches the moon and the planets, the days and seasons, the cycle of life and death all going around in an endless loop, and unconsciously, believing itself to be nature, the mind echoes these cycles. Its thoughts go in loops, repeating patterns established so long ago we often can’t remember their origin, or why they ever made sense to us. And even when these loops fail over and over again to bring us to a desirable place, even while they entrap us, and make us feel anciently tired of ourselves, and we sense that sticking to their well-worn path means we’ll miss contact with the truth every single time, we still find it nearly impossible to resist them. We call these patterns of thought our “nature” and resign ourselves to being governed by them as if they are the result of a force outside of us, the way that the seas are governed — rather absurdly, when one thinks about it — by a distant and otherwise irrelevant moon.
And yet it is unquestionably within our power to break the loop; to “violate” what presents itself as our nature by choosing to think — and to see, and act — in a different way. It may require enormous effort and focus. And yet for the most part it isn’t laziness that stops us from breaking these loops, it’s fear. In a sense, one could say that fear is the otherwise irrelevant moon that we allow to govern the far larger nature of our minds.
And so before we can arrive at the act of breaking, we first have to confront our fear. The fear that the blank canvas and the blank side of life reflects back to us, which is so paralyzing, as you put it, and seems to tell us that we can’t do anything.” It’s an abstract fear, though it finds a way to take on endless shapes. Today it may be the fear of failure, but tomorrow it will be the fear of what others will think of us, and at a different time it will be fear of discovering that the worst things we suspect about ourselves are true. My lover says that the fear, which seems always to be there when one wakes up in the morning, and which he feels in the hollow between his ribs (above his stomach and below his heart) comes from the “other world,” a phrase that always brings tears to his eyes, and by which he means the awareness of our finitude, our lack of the infinite and eternal. I think he’s right, but I would also add to that that fear, being anticipatory, is always without knowledge. It is a mental calculation based on the future unknown. And yet the experience of fear is the experience of being in the grip of a sensation that seems to possess an unassailable conviction in itself. To be afraid that the plane will crash is, in a sense, to assume that the plane will crash. And yet even if we could scrape away the many forms our fear takes and get to the underlying source-our mortality, our division from the infinite — we would still discover that our fear is not based on actual knowledge, unlike the part of us that chooses to be free. Bravery is always more intelligent than fear, since it is built on the foundation of what one knows about oneself: the knowledge of one’s strength and capacity, of one’s passion. You implied as much in your letter: “However meaningless and vain, however dead life appears to be, the man of faith, of energy, of warmth, and who knows something, doesn’t let himself be fobbed off like that,” you wrote. “He steps in and does something, and hangs on to that, in short, breaks, “violates.”
And so we find ourselves, once again, in front of the blank canvas. The blank canvas, which reflects both our fear and our opportunity to break it. In Jewish mysticism, the empty space — the Chalal Panui, in Hebrew — has tremendous importance, because it was the necessary pre-condition for God’s creation of the world. How did the Ein Sof — the being without end, as God is called in Kabbalah — create something finite within what is already infinite? And how can we explain the paradox of God’s simultaneous presence and absence in the world? And the answer to this, according to the Kabbalah, is that when it arose in God’s will to create the world, He first had to withdraw Himself, leaving a void. To create the world, God first had to create an empty space.
And so we might say: The first act of creation is not a mark, it is the nullification of the infinity that exists before the first mark. To make a mark is to remember that we are finite. It is to break, or violate, the illusion that we are nature that goes around in a loop forever. But it is also a confirmation of our knowledge and freedom, which is all we have in this world.
Nicole Krauss
. - - - 2015


  quei  silenzi  tra  una  parola  e  l’altra 

stavo scrivendo    
e   però ... etc ”    
poi ho pensato di mettere un
  punto   dopo  ‘e però’  ...   dando spazio al   silenzio.
sono  riuscita  ad  afferrare  come  una  nuova
 punteggiatura  per  il  silenzio
E però ”  indica  che  dopo
  c’è  ancora  qualcosa


perché i libri non vengono dedicati con fotografie ?
Per me una delle cose più curiose quando apro un libro è: è dedicato a Matthew o a Georgia.
Chi è questa persona, con cui l’autore ha un rapporto tanto speciale? Così,
come per soddisfare il lettore oltre che l’autore, ho optato per le fotografie.

Nella Storia dell’amore il protagonista deve cercare un titolo per il suo libro: comincia con “ridere e piangere”, “ridere, piangere e scrivere”, poi riflette ancora e arriva a “ridere e piangere e scrivere e aspettare”. In qualche modo questa è la sua poetica?
Ci sono state molte cose che mi hanno fatto sentire libera.    Ho scritto poesie per molti anni,    fin da bambina quando pensavo che sarei stata una poetessa;    e ho scritto il mio primo ROMANZo a venticinque anni    e    da allora non avevo mai scritto nessuna poesia.
Ma ci sono tante cose che amavo nel ROMANZo , che ho capito che era questa la mia vocazione, la confusione, le complicazioni, le imperfezioni, perché davvero
non penso che ci possa essere UN ROMANZo perfetto, non credo che esista. Mi piaceva l’idea che ogni volta si debba inventare la forma. Ma una delle cose che mi lascia come insoddisfatta è che le parole sono così tutte insieme, si affollano tutte sulla pagina mentre nella poesia c’è sempre l’occasione di fare di una parola un’idea solitaria, che resta da sola e obbliga il lettore a dedicarle il silenzio
, a offrirle una pausa. Con questo libro ho provato a fare qualcosa del genere, ad agire di nuovo con notazioni musicali, per lasciare il lettore solo, per offrire una pausa prima e dopo, e ho sperimentato la stessa cosa alla fine del libro, quando ci sono Leo e Alma, e ciascuno dei due parla, e il fatto che devi girare la pagina ti obbliga a prenderti una pausa, sentire prima una voce poi l’altra, Per me era cercare di soddisfare questo problema, per colmare questa mia insoddisfazione che resta nel passaggio dalla poesia alla prosa, e ci sono molte altre cose che nel ROMANZo non si possono fare, ma questa è la cosa che mi dà più fastidio.
luciano minerva - intervista - rainews24



Writer's Block   -   The end of bookstores

... e-books made up about 10 percent of book sales in 2010, and that number is rapidly rising. You had to read between the lines to find the real news, but there it was: To the growing list of things that will be extinct in our children's world, we can now add bookstores. Does it surprise us? Should we care?
There were booksellers in ancient Greece and Rome and the medieval Islamic world, but it was not until after the advent of printing that the modern bookstore was born ...
To walk into a modern-day bookstore is a little bit like studying a single photograph out of the infinite number of photographs that could be taken of the world: It offers the reader a frame. Within that frame, she can decide what she likes and doesn't like, what is for her and not for her.

She can browse, selecting this offering and rejecting that, and in this way she can begin to assemble a program of taste and self.
Nicole Krauss - 2011


  - 2012   -   WE CREATE WHO WE ARE   - 2017 -  FOREST DARK  - 2020 -  interview

...  -   on the drama of desire - 2020  -   2020






TO BE A MAN - essere un uomo  - stories   -  OSPITE ON LINE DEL CIRCOLO DEI LETTORI - SETTEMBRE 2021

financial times : one of the BEST BOOKS OF 2020

TIME : one of 100 Must-Read Books of the Year

In one of her strongest works of fiction yet, Nicole Krauss plunges fearlessly into the struggle to understand what it is to be a man and what it is to be a woman, and the arising tensions that have existed from the very beginning of time. Set in our contemporary moment, and moving across the globe from Switzerland, Japan, and New York City to Tel Aviv, Los Angeles, and South America, the stories in To Be a Man feature male characters as fathers, lovers, friends, children, seducers, and even a lost husband who may never have been a husband at all.
The way these stories mirror one other and resonate is beautiful, with a balance so finely tuned that the book almost feels like a novel. Echoes ring through stages of life: aging parents and new-born babies; young women’s coming of age and the newfound, somewhat bewildering sexual power that accompanies it; generational gaps and unexpected deliveries of strange new leases on life; mystery and wonder at a life lived or a future waiting to unfold. To Be a Man illuminates with a fierce, unwavering light the forces driving human existence: sex, power, violence, passion, self-discovery, growing older. Profound, poignant, and brilliant, Krauss’s stories are at once startling and deeply moving, but always revealing of all-too-human weakness and strength.   -   -   -  -  interview -  2020

arare there aspects of manhood that should be resisted ?
That ending, which opens out into a vastness, can, I hope, be read in different ways .   One is as you’ve described .   Another is as a contemplation of time and life and the forward pull into the future, into the unknown, into change that will be irreversible .    To me, it is very much a mother’s moment of regarding a child who must grow to leave her for other shores .    It’s a letting-go, with all of the sadness and joy and trepidation and wonder she feels .    The story, which focuses on her observations of the men and boys near to her, is only obliquely about her own feelings .    But I think they come rushing to the fore in that final moment .

thomas gebremedhin - - interview - 2020

why to be a man?
I was thinking about the way I inhabited men in my novels, why I write as often in the voices of men as women .   Then I began to think about my own experiences with men .   About what it is to be the mother of two boys and what it means to raise those boys into men in the context of this moment where the idea of manhood is so beleaguered and problematic and complex .   I wanted to find in this book a kind of perspective on masculinity that I haven’t found in the past years in the shadow of the #MeToo movement .   Trying to think about the aspects of manhood that that movement couldn’t address because it had so many other things to address. The vulnerability of men and the complexity of what is asked of them in terms of strength both by their societies and personally, all of these complexities and contradictions were on my mind and I just wanted to find a form that would hold them with tenderness, with appreciation for their struggle and what it means to be a woman among them.
how was lockdown for you?
I have been doing an enormous amount of running. I’m a resister. I accepted all of our fate and the necessity of lockdown but everything in me wanted to move, and so I just ran. For the first month of lockdown, I was running every day in a nearby park on this wooded path. There was no one there ...
alex preston - - inteview - 2020


ospite alla 14ma edizione Festival internazionale letteratura ' Incroci di civiltà ' 2021
Che titolo meraviglioso per un festival : Incroci di Civiltà .     Mi somiglia .    Gli incroci, geografici fisici, temporali e sì, perfino emozionali, mi interessano tantissimo. Somigliano alla mia storia personale, fatta di tante sfaccettature. E alle storie che scrivo :   vite che attraversano molte geografie d'ogni tipo ...
anna lombardi - 2021 -


si è fatta un’idea di che cosa è la mascolinità?
Di sicuro tra uomini e donne c’è una profonda differenza a livello biologico e ormonale, è un fatto scientifico che ha enormi effetti sul comportamento .   A volte mi chiedo come avrei affrontato certe situazioni se fossi stata piena di testosterone: forse avrei pensato di meno, mi sarei andata a prendere quello che volevo, e questo perché nel mio corpo avrei avuto sostanze chimiche diverse  .
laura pezzino -     - milano 2021 - intervista


Dopo una serie di acclamati romanzi, Nicole Krauss torna a esplorare il tema della memoria, dello sradicamento, della fede, con questi racconti animati da riflessioni incisive e profonde. Un ruolo centrale è ricoperto dalle donne: le protagoniste sono colte in vari stadi della loro esistenza, dall’infanzia alla vecchiaia, passando attraverso l’adolescenza, la consapevolezza della sessualità, o il meraviglioso annunciarsi di una nuova vita. Il punto di vista è spesso spiazzante: nella storia di apertura, ad esempio, una studentessa tredicenne scopre che la sua amica ha avuto un incontro pericoloso con un uomo più vecchio di lei; la stessa studentessa, una volta adulta, osserverà con paura e un pizzico di invidia la reazione della giovanissima figlia agli sguardi degli uomini. I personaggi che popolano queste pagine sono sfaccettati, ci spingono a porci domande scomode: come affrontare il divorzio – sorprendentemente amichevole – dei tuoi genitori? Come gestire l’arrivo di un misterioso sconosciuto che dice di essere tuo padre, quando lo credevi morto da anni? E, in definitiva, che cosa significa essere un uomo ed essere una donna? Un caleidoscopio di storie da ogni parte del mondo per affrontare in modo originale argomenti attuali come la violenza, il desiderio, la scoperta di sé, e illuminare gli abissi che separano, a volte, l’universo maschile da quello femminile.
guanda - 2021


quanto c’è di lei in questo libro?
Il mio lavoro è molto personale, ma non autobiografico.    Non amo la mia autobiografia, la mia vita è noiosa, ma lavoro di immaginazione, sperimento le vite degli altri, mi identifico, mi immergo in altre esperienze, come quella di provare a essere un uomo, un altro da me. Poi le elaboro e le racconto.
marina gersony - -  intervista 2022







Forest Dark  -  2017

- - - Vogue Magazine has included FOREST DARK on their list of  ' 8 Brilliant Novels About the Contemporary Jewish Experience '  - 


Best Book of 2017  -    A sophisticated, thought-provoking book with moments of exquisite beauty.

Krauss’s extraordinary fourth novel is a study of identity, belonging — and the allure of the Tel Aviv Hilton. One strand concerns Nicole, a writer who leaves New York on a journey of self-discovery, making a pilgrimage to the hotel she visited frequently as a child. In a parallel strand we meet dyspeptic millionaire lawyer Epstein, also drawn to Tel Aviv, where he is confronted with his ancestral past. A sophisticated, thought-provoking book with moments of exquisite beauty.

- The New York Times Book Review - forest dark in 100 Notable Books of 2017
fb/nk - 2017
da una lettera dell'editore -
terry karten - 2017


a richly layered masterpiece; creative, profound, insightful, deeply serious, effortlessly elegant, both human and humane. Krauss is a poet and a philosopher, and this latest work does what only the very best fiction can do — startles, challenges and enlightens the reader, while showing the familiar world anew. - fb/nk - 2017


I think that is what one is always doing as a writer. Not just self-expression, but something bigger than that which is self-invention. In that process of self-invention you are expanding a portion of yourself. I poured so much that is real and true about myself and my life into Nicole [the character in Forest Dark] but at some point it became literature, which is something different than simply history." She adds, "Writers are kind of like mockingbirds, in that they take what is interesting and shiny and useful from their own lives and they weave it into this tapestry that they're making. I wove an awful lot of my life into this book, but on both sides - no less on Epstein's side than on Nicole's. -NK

fb/nk - 19.6.2017  -


interweaves the stories of two disparate individuals — an older lawyer and a young novelist — whose transcendental search leads them to the same Israeli desert.

--  a brillant novel . i am full of admiration   -   philip roth

fb/nk - 2017

forest dark is brillantly original, a tour de force of fiction writing innovative, consistently fascinating, and simply the most powerful and accomplished novel nicole krauss has ever written.e15"Forest Dark is her most cerebral book yet -  it tackles questions of faith and identity, as well as Freud and Kafka's conception of 'unheimlich', a kind of anxiety inspired by the uncanny sensation of recognizing something you've never seen before .
publishers weekly - 2017


One of America’s most important novelists - New York Times - the award-winning, New York Times bestselling author of The History of Love, conjures an achingly beautiful and breathtakingly original novel about personal transformation that interweaves the stories of two disparate individuals—an older lawyer and a young novelist—whose transcendental search leads them to the same Israeli desert .

Jules Epstein, a man whose drive, avidity, and outsized personality have, for sixty-eight years, been a force to be reckoned with, is undergoing a metamorphosis. In the wake of his parents’ deaths, his divorce from his wife of more than thirty years, and his retirement from the New York legal firm where he was a partner, he’s felt an irresistible need to give away his possessions, alarming his children and perplexing the executor of his estate. With the last of his wealth, he travels to Israel, with a nebulous plan to do something to honor his parents. In Tel Aviv, he is sidetracked by a charismatic American rabbi planning a reunion for the descendants of King David who insists that Epstein is part of that storied dynastic line. He also meets the rabbi’s beautiful daughter who convinces Epstein to become involved in her own project—a film about the life of David being shot in the desert—with life-changing consequences.
But Epstein isn’t the only seeker embarking on a metaphysical journey that dissolves his sense of self, place, and history. Leaving her family in Brooklyn, a young, well-known novelist arrives at the Tel Aviv Hilton where she has stayed every year since birth. Troubled by writer’s block and a failing marriage, she hopes that the hotel can unlock a dimension of reality—and her own perception of life—that has been closed off to her. But when she meets a retired literature professor who proposes a project she can’t turn down, she’s drawn into a mystery that alters her life in ways she could never have imagined.
Bursting with life and humor, Forest Dark is a profound, mesmerizing novel of metamorphosis and self-realization—of looking beyond all that is visible towards the infinite.
amazon - 2017


forest and desert have both a literal and metaphorical power in the novel. how much time did you spend in the various settings in order to be able to capture both their atmosphere and their meaning?
I’ve spent a lot of time in both settings, throughout my life, but very little especially for this novel.     The exception was three days I spent in the Judaean and the Negev deserts in Israel (they are continuous, so going from north to south you can drive through both).     I was there, ostensibly, to figure out what had happened to Epstein. I got nowhere with that, but I was, as always, moved by the place, and happy to be there.      You can’t spend time in a desert and not go a little deliciously out of your mind.     One night, by the kerosene heater, I opened my computer. And then it suddenly hit me that, of course, Kafka had come here.     Here to the desert, to what was then Palestine.       All of the evidence turned up afterwards, in the months of scouring his letters and diaries.       By which I mean, the evidence that Palestine was his only hope and means of escape and transformation, and that maybe, just maybe, he took it.  
frances gertler - - 2017


... The best kind of writing gains that trust within the first page and then it builds: trust that wherever the narrative is going, it will be worthwhile, and that the world created on the page is made live because every aspect of it has been deeply considered and thoughtfully conceived. As a reader, I find that the more space I am given to make connections on my own - in other words, the more the author trusts me, in turn, to think for myself and to understand - the deeper my experience, and often the more revelatory.
eric farwell - - 2017


Midway upon the journey of our life, I found myself within a forest dark, for the straightforward pathway had been lost  - dante alighieri - canto I
Nel mezzo del cammin di nostra vita   mi ritrovai per una selva oscura    ché la diritta via era smarrita

fb/nk - 14.2.2018


Abbiamo fatto del noto, del conosciuto, una sorta di religione, ma l'unico momento in cui ci riempiamo di stupore è quello in cui volgiamo lo sguardo sull'ignoto, il non conosciuto.  In cui ci rendiamo conto di quanto non sappiamo e non abbiamo capito .    L'incertezza può avere un valore nella nostra vita - nk
mauretta capuano - - 2018


L’autrice parla a un pubblico alto, che ha familiarità con un certo approccio alla vita, ma lo fa senza scadere nell’autocompiacimento esclusivo bensì sforzandosi di tracciare una strada, di dare disperatamente (e ancora una volta) una forma al proprio pensiero e all’agire dei suoi personaggi. E allora forse quella selva oscura diviene la metafora di ciò che necessariamente prima o poi si deve attraversare, 'attratti dall’idea di perdersi in quella foresta dove un tempo vivevamo di meraviglia, nella consapevolezza che il nostro stupore è il prerequisito di un’autentica coscienza dell’essere e del mondo'.
gaia montanaro - - 2018


.  Provavo la crescente impressione che nei miei scritti il grado di artificio superasse il grado di verità ...   il caos è l'unica verità che la letteratura sarà sempre condannata a tradire, perché nella creazione delle sue delicate strutture, che evidenziano molti aspetti autentici della vita, la parte di verità legata all'incoerenza e al disordine non può che rimanere oscura   .   nk - 2018


ogni vita è strana, la sua come la definirebbe?
Come Nicole, io non sono una persona che sente di vivere una vita autentica quando aderisco ad una forma definita.   Siamo attratti dai cambiamenti e dalla crescita, dall'evolvere che ci rende diversi dagli altri animali, ma anche dal bisogno di coerenza e stabilità.    Sono attratta da un modo di vivere che consenta sempre un massimo di cambiamento Il punto è che stranezza non è l'opposto di normalità, ma la prospettiva di un'espansione della mente e dell'anima.
a lei piacerebbe sparire nel nulla?
No, assolutamente.    Sono una scrittrice e uno scrittore ha il sentimento di sparire e di riapparire, di andare e tornare, di cambiare, una fortunata libertà di fare questo attraverso la scrittura.    Non voglio sparire da questa vita, ma soltanto farla più grande.
giuseppe fantasia - - 2018 - noemi milani -  intervista 2018


All novels are, in their way, an act of resistance, since they insist on the importance and uniqueness of the individual life, and refuse to given in to the mass generalities on which governments and economies depend. -nk
lily meyer - interview - - 2019




i  am asleep  but my heart  is awake - fiction    -   2014
Now when the stranger in my father’s apartment speaks to me, I answer reflexively in English: I’m Adam’s daughter. Who are you?
You surprised me he says, clapping his chest. He sinks down onto the sofa, his knees falling open.
You’re a friend of my father?
Yes, he says, rubbing his throat under the open collar. The hair on his chest is sparse and gray. He gestures for me to sit, as if it were I who had appeared unannounced in his living room, and not vice versa. With shining eyes, he takes me in. I should have guessed, you look like him. Only prettier.
You didn’t say your name.
My father had never mentioned a Boaz.
I’m an old friend, the stranger said.
Why do you have the keys?
He lets me use the place when he isn’t here. Now and then, when I come through the city. I stay in the back bedroom and check on things for him. Last month there was a leak from upstairs.
My father died.
For a moment he says nothing. I can feel him studying me.
I know. He stands up, turning his back to me, and easily lifts the heavy bag of groceries he’d set down earlier. But instead of leaving, as I expect—as any normal person would—he retreats to the kitchen. I’m making something to eat, he says without turning. If you’re hungry, it’ll be ready in fifteen minutes.  - 2014






Set in an unnamed country as familiar as it is otherworldly, An Arrangement of Light tells of a young horticulturist’s admiration for the work of a great landscape architect and his hope to help him build a new public park in the capital. The young man ends up being complicit in a scheme he could never have imagined or wished for. When a military coup ushers capricious generals into power and they arrive in their black sedans with dark plans for the new park, this personal secretary to the great designer discovers that dreams risk running headlong into nightmares.





The Costs of Assimilation - André Aciman & Nicole Krauss   -   2013
What are the costs of assimilation into American society? And what happens when we become someone other than the person we thought we would be? In his new novel, Harvard Square, André Aciman explores these and other questions ... and is joined in conversation by novelist Nicole Krauss to talk about themes which haunt them both, identity  - exile - fiction and memory. - 2013



Zusya on the Roof  2013

you write about Brodman, an old man reflecting on his life ... do you think that the burden is specific to - somehow inherent to - Judaism or common to all religious traditions?

orthodoxy of any kind requires conformity, and a certain kind of person will always bridle under its restrictions. But because Judaism had to survive the total dispersion of its people, the task of reme mbering became uniquely critical to its survival. In the first century, post-exile, Judaism was reshaped by the rabbis, and underwent drastic changes. The integrity of an entire people came to rest on the power of their memory. Zakor, Hebrew for the duty to remember, is at the core of Jewish practice and, I’d argue, the strain of that obligation is central to Jewish psychology.
You’ve written a number of pieces from the point of view of aging men—two sections in “Great House” are narrated by older men as well. What draws you to that kind of voice?
Clark Kent has Superman, Beyoncé has Sasha Fierce, and I have old Jewish men.
You have two young sons. Do you worry that they will be somehow burdened or limited in life by their own cultural heritage?

The older one recently felt the universe realign when he discovered that George Washington wasn’t Jewish. When he was four, he wept inconsolably for Moses, who could only look down on the Land of Israel from Mount Nebo, but could never enter it. But Hebrew school has since changed all that, chasing off his interest. Now he finds his burdens elsewhere. The younger was born with a well of irreverence that, as far as I can tell, appears to be bottomless.
Deborah Treisman - - 2013

Zusya on the Roof

begins where it ends, with a man - Brodman - up on a roof holding his newborn grandson: “how did he wind up here?” ... To begin specifically: Brodman had been dead for two weeks, but then, sadly, he had come back to this world, where he’d spent fifty years trying to write unnecessary books. - 2013



Quattro storie si intrecciano sul finire degli anni ’90, ognuna col suo carico di dolore, di segreti, di affetti. Quattro vicende diverse, apparentemente slegate, accomunate da un unico elemento: un’ingombrante scrivania, provvista di un’alzata e di tanti cassetti, che diventa il simbolo della memoria e del dolore, della difficoltà di vivere accanto a chi ha affrontato una delle più grandi tragedie dell’età contemporanea e ancora deve fare i conti con questa pesante eredità. Da New York a Londra, a Gerusalemme, alla Budapest degli anni ’40, un mosaico di storie diverse, che colpisce il lettore e lo trascina nei meandri oscuri della storia del Novecento e delle ferite ancora aperte nel cuore degli uomini che l’hanno vissuta.  - guanda - 2011

finalist of the The Orange Prize for Fiction  2011  for Great House

Es muy posible, por otra parte, que tengamos que agradecer a Krauss el que, en un momento en el que la literatura no se caracteriza precisamente por sus riesgos, se haya atrevido a plantear una estructura que entrelaza una polifonía de personajes en crisis. Pero lo cierto es que el experimento no acaba de resultar todo lo bien que la propia novela merecería. Aunque mecida por la prosa efectiva de la autora, la sucesión de personalidades hipersensibles acaba por saturar el ritmo de la historia. Es como si toda la partitura señalase un in crescendo.
Buenos momentos y malos cuartos de hora. La gran casa es, en muchos aspectos, superior a la anterior La historia del amor, aunque no llega a ser la gran novela en la que está a punto de convertirse. Hay razones para pensar que esa gran novela está por llegar .

iguel carreira - - 2013

It was all I could take. I grabbed the wooden Pinocchio marionette down off the shelf and shouted for you. You came inside, lumbering up the steps with dirt on your knees, and stood watching while I made the Pinocchio dance and sing then trip and fall on his face. Every time I made him collapse, you howled with laughter. Enough, your mother said, putting her hand on my arm, I'm sure Mr. Shatzner realizes our little Dovi isn't always so serious. But I kept going, making you laugh so hard that you wet your pants, and then I crushed the balding psychologist's hand in mine, told him he was welcome to snoop around for as long as he liked, but that I had more important things to do. I left the house, slamming the door behind me.         VIDEO  -      GREAT HOUSE



Leo Gursky fa del suo meglio per sopravvivere; vive alla giornata, emarginato in una città enorme come New York, legge i lib ri del figlio, che è un famoso scrittore ma che non lo conosce, e ogni sera batte alcuni colpi sui tubi della caldaia di casa, per fare sapere al suo vicino che è ancora vivo. Ma la sua vita non è sempre stata così. Quando ancora era giovane, ebreo nella Polonia degli anni Trenta in cui era nato, Leo Gursky si era follemente innamorato di Alma e aveva scritto un libro in yiddish, "La storia del l'amore", racconto di quel suo impossibile sentimento. E Leo non sa che, nonostante le fughe e le persecuzioni subite dai suoi protagonisti, quel libro esiste an cora... Nicole Krauss è nata nel 1974 a New York, dove vive, da una famiglia ebraica.
un ROMAN d'une rare beauté où les mots tracent de subtils motifs enluminant des récits en apparence parallèles, mais qui convergent lentement, avec prudence, dévoilant pudiquement leurs rouages. En résulte ce que plusieurs considèrent comme l'une des plus éclatantes réussites de la récente histoire de la littérature états-unienne.
...  Spesso mi domando chi sarà l'ultima persona che mi vedrà vivo. Se dovessi scommettere, scommetterei sul ragazzo del take away cinese. Mi faccio portare la cena quattro sere alla settimana. Ogni volta che arriva faccio una gran scena prima di trovare il portafogli. Lui resta fermo sulla soglia con il sacchetto unto in mano mentre io mi chiedo se sarà questa la sera in cui, finito l'involtino primavera, mi trascinerò fino al letto e morirò di infarto nel sonno ...
Maria Barbara Talamonti -
If I had a camera  I'd take a picture of you every day. That way I'd remember how you looked every single day of your life.
the history of love
le persone sole sono sempre sveglie nel cuore della notte
la storia dell'amore

The Washington Post recommends books to read at every age, 1-100.   THE HISTORY OF LOVE   is recommended as the best book to read at 75.
fb/nk - 26.6.2019
THE HISTORY OF LOVE - FILM FANTASY di radu mihaileanu  -  -

Samson Greene, trentaseienne professore di lettere alla Columbia University, scomparso mentre tornava a casa dal lavoro, viene misteriosamente ritrovato mentre vagabonda con gli abiti a PEZZI nel deserto del Nevada. Operato per un tumore benigno al cervello, rimane però affetto da un terribile disturbo alla memoria, per cui non ricorda assolutamente nulla dei suoi ultimi venticinque anni di vita. Il suo tentativo di riprendere in mano la propria vita passerà attraverso un fallimentare apprendistato coniugale fino alla definitiva separazione dalla moglie; e poi, tra i tanti incontri della sua nuova vita, ci sarà anche quello con il neuropsichiatria Ray, le cui cure sperimentali sortiranno su di lui effetti inquietanti.


Manhattan ? no ! Brooklyn è la nuova meta!
Manhattan ormai ha perso charme
è un grande uniforme centro commerciale.
La gente giovane e creativa si trasferisce a Brooklyn
non solo per i prezzi delle case ma perchè c’è ancora autenticità.

NK - - 2013



All I want is not to die on a day when I went unseen


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