Rights offering detail :
Mar. 29, 2022
Giorgio Agamben
Digital: Non-fiction: General
After La follia di Hölderlin, Giorgio Agamben addresses the famous novel by Collodi, sidestepping the normal esoteric interpretations in favor of a “profane illumination” in which body and imagination permeate each other.

To Agamben, Pinocchio’s picaresque adventures are not those an initiate must undergo in order to gain a doctrine or a higher science, but rather those of a dual being who must live in two parallel worlds (marionette and human; marionette and animal) and represents the mystery of existence only unwittingly. Because, like the donkey within Pinocchio, we can harbor the mystery of existence only if we are not aware of it, only if we manage to cohabit with an area of non-knowledge, immemorial and very near. This area in which we can be in relation to something without being aware of it or commanding it, is the marionette. This is why it becomes a donkey and would blissfully bear its mystery, if humans didn’t intervene each time with their pedagogical and commercial devices.
Pinocchio is always faced with the alternative of returning (home to his father, with fairies, talking crickets, and teachers) or of carrying on, in order to stubbornly indulge his way of being. Two opposite directions, the unauthentic and the authentic, are in conflict throughout almost the entire book, until at a certain point they coincide, not because Pinocchio has given in to the pressure of fathers and talking crickets but because,
by abandoning the land and throwing himself into the sea to swim and “take his chance”, he frees himself forever of the possibility of distinguishing between return and progress, between the authentic and the unauthentic.
Rights sold:
Brazil (Ayiné), France (Rivages - Actes Sud), Korea (Hyohyung Publ.), Poland (Count August Cieszkowski Foundation), World English rights (Seagull), World Spanish rights (Hidalgo)
Valeria Zito
Giulio Einaudi editore
phone: +390115656204
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