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Journal of Italian Translation - Brooklyn College - Academic Home ...

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Grazia Deledda’s “Il cane”<br />

Translated by John Pope<br />

John Pope is a Paris-based writer and translator. He has<br />

published translations <strong>of</strong> Miguel de Unamuno, David Rosenmann-<br />

Taub, and Bruno Doucey, and is currently working on a novel.<br />

Grazia Deledda was born in Nuoro, on the island <strong>of</strong> Sardinia,<br />

in 1871. She began writing poetry and short stories while<br />

still a child, and published her first work at age nineteen. Her<br />

apprenticeship continued until her early thirties, when she wrote<br />

Elias Portolu, the first <strong>of</strong> the series <strong>of</strong> novels that brought her fame.<br />

On the strength <strong>of</strong> books such as Racconti Sardi (Sardinian Tales),<br />

Canne al Vento (Reeds in the Wind), and Cenere (Ashes), she won<br />

the Nobel Prize for literature in 1926. At her death in Rome in 1936,<br />

she had published several collections <strong>of</strong> short stories, a translation<br />

<strong>of</strong> Balzac’s Eugénie Grandet into <strong>Italian</strong>, and some forty novels.<br />

In Il Cane (The Dog), the final story <strong>of</strong> Deledda’s collection Il<br />

flauto nel bosco (The Flute in the Woods, 1923), the narrator finds<br />

a dog, takes a short walk with it by the sea, hopes to keep it, then<br />

realizes it will not come home with her. Only at the end does she<br />

fully grasp that she’s been deluding herself, projecting her hopes<br />

and fears on both the dog and nature. With this apparently innocuous<br />

incident, Deledda draws an indelible portrait <strong>of</strong> our tendency<br />

to deform what we experience and to believe our own inventions.

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