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A note from Italy to America Be patient with us, I wrote back. I promise that the national heart of America is larger and more constant than any transient and sinister sub-group that is louder at the moment. By Mary Ann SorrentinoUpdated January 22, 2021, 11:00 a.m. Email to a Friend âWe saw people inside the Capitol who should have been stopped at 100 meters from that place,â my friend Anna wrote in her email. âWe canât believe nobody stopped them!âJohn Minchillo/Associated Press Through my parentsâ deep Italian immigrant roots, I grew proud of my heritage. I hold dual US-Italian citizenship, studied at the University of Florence, am fluent in Italian, and have been fortunate enough to travel to Italy often â as a speaker, a leisure
Samuel Beckett’s writing often seems to have a religious air about it. Take his most famous play, Waiting for Godot (1953). Two Chaplinesque tramps – Vladimir and Estragon – wait at a crossroads by a tree for someone who might provide an answer to their prayers: Mr Godot. This is a man who has a suspiciously divine white beard, who ‘does nothing’, and who remains frustratingly absent, despite repeated promises of his imminent arrival. Vladimir and Estragon pass the time by singing, eating radishes, play acting, and arguing. One of their first bits of comic back-and-forth concerns a discrepancy between the gospels in the Bible. Why is it, Vladimir wonders, that only one of the evangelists mentions that, of the two thieves crucified alongside Jesus, one had repented and was saved while the other mocked him and was damned? The penitent thief is mentioned in the Gospel of Luke, but not in Matthew, Mark or John. ‘One out of four,’ mutters Vladimir. ‘Of the other three, two don’t mention any thieves at all and the third says that both of them abused him.’
If you could live with just one work of art, what would it be? Very difficult question! I could pick up a different painting every day for the rest of my life... Today I would choose Whistlejacket (1762) by George Stubbs, one of my favourite paintings in the National Gallery in London. It is an unprecedented full-scale portrait of a rearing chestnut thoroughbred, represented with incredible realism against a plain background. It is like a painted equestrian monument celebrating a racehorse champion and the horse itself. It is an extremely modern image. The large format and its flat background, like a Japanese print, are just unique for animal painting: a revolution in the hierarchy of artistic genres and a romantic celebration of energy and nature. As an equestrian, I would love to have a similar painting of my favourite horse.