Voices in the Evening

Reviews

"The concepts, emotions and characters in her books are complex and unforgettable." — Laurie Anderson, New York Times

"Sharp and lively." — Lydia Davis

"I’m utterly entranced by Ginzburg’s style – her mysterious directness, her salutary ability to lay things bare that never feels contrived or cold, only necessary, honest, clear." — Maggie Nelson

"Ginzburg gives us a new template for the female voice and an idea of what it might sound like." — Rachel Cusk

"Her sentences have great precision and clarity, and I learn a lot when I read her." — Zadie Smith

"As deceptively diffuse as it is meticulously observed, Ginzburg’s novel is a gem." — Kirkus (starred)

"Ginzburg’s efficient, lyrical prose and ear for dialogue make for an expansive and beautifully rendered study of individuals and community in wartime. With this latest resurrected masterpiece, the late author’s work continues to prove irresistible and relevant." — Publishers Weekly (starred)

"Though the political context is important in understanding the nuances of her work, Ginzburg’s talent, and how fresh these stories still feel, is in her note-perfect characterizations. The many political frictions offer a context, but it’s these imaginary/real people who are front and center." — Mandana Chaffa, Chicago Review of Books

"There is perhaps no greater archivist of the family lexicon than the Italian novelist Natalia Ginzburg." — Jess Bergman, Jewish Currents

"Ginzburg is a miniaturist. Her themes are buried in gestures, fragments, absences—not in what is said, but in what is not said....When there are glimpses of happiness in Ginzburg’s work, they take root in unlikely places, outside the narrow confines of convention. Voices in the Evening, set in the period immediately after the war, is a portrait of the children of a factory boss as told by Elsa, the factory accountant’s daughter, a typically opaque Ginzburgian narrator. Elsa is having a covert love affair with Tommasino, the youngest of the boss’s children, and the pair meet every Wednesday in a modest rented room. Ginzburg sketches the parameters of their relationship with typical precision, through an accretion of specifics that accumulate incredible force, humor, and beauty." — Negar Azimi, Bookforum