In the monologue "Clic", by the unforgettable author of "Code", the scene is hinted at as a hospital. He exists, evoked by a mere name, which makes him a very powerful character, a certain Dr. Dickmans. The monologue speaker apparently freewheels about various themes and issues, produces his own reflections on himself, the world, the situation he is experiencing. But we follow this voice with growing disquiet, as it becomes clearer and clearer to us at every step that the narration itself is the story, not what the voice says. Indeed, the voice is often interrupted by a sign/sound, i.e. a 'click', which breaks its course just as it simultaneously breaks our mental reconstruction of the scene.
The continuous fractures are thus as much of the monologue-giver as of the reader/listener. This simple but ingenious 'click' binds us to the monologue more than any other empathic, or narrative, or visual, or experiential gimmick.

Mario Giorgi was born in Bologna in 1956. He has written texts for radio, theatre, TV. He has published "Codice" (Bollati Boringhieri 1994), "Biancaneve" (Bollati Boringhieri 1995), "Sulla torre antica" (Portofranco 1998), "23 : 59" (Rai Eri 1999), "Torpore" (Portofranco 2001), "Alter E" (Un fagiano) (:duepunti 2010), "Società del Programma Spaziale" (CS_libri 2016), "Configurazione Alieno" (CS_libri 2019), "Fiori" (Tiemme 2019).

Since her recent literary debut, this author's stylistic maturity and ability to structure the narrative in time has attracted literary attention. Francesca Zupin constructs a limpid tale in perfect balance between pain and grace. Recomposing in a kaleidoscopic sequence a forty-year period of lives, Zupin draws up a story of undercurrent loves, almost friendships, silent deaths, disenchanted relationships. However, the enchantment is actually all profound and it is made up of powerful feelings and disillusions which move beneath the characters' lives like distant, invincible magnets. The fulcrum lies in the character of Nina, a figure who will remain in the considerations she causes in readers and in their hearts. Zupin elegantly sketches the places that host these small and intimately grand affairs, the seaside town, its gentle and poignant meeting places, two balconies, a pastry shop, certain steps. With equal finesse she conjures up distant places - the United States, Germany - with departures, returns, a sailing ship, arriving letters. The confident tone of this writer's voice, a singular blend of sumptuousness and sobriety, is a new and beautiful presence in our Italian literature.

Francesca Zupin was born in Trieste. She graduated from Milan's Bocconi University and completed a master's degree at the Holden School. She works in an international scientific university in the Middle East. Her first novel Salvamento (Bollati Boringhieri Editore) was published in 2022.

Bodo lives with his mother near the Lorettoberg. Bodo and Mom work in their workshop: washing, ironing. Bodo likes ironing very much. Whenever possible, before going to sleep, he looks out of the window and the breeze coming down from the Lorettoberg comforts him. Bodo falls asleep melancholy and serene. He is simple-hearted, but has sometimes unsettling enthusiasms, kept calm pharmacologically. Bodo loves Mom. Bodo falls in love with a customer. When she and her family return to her country just over the border, Bodo's love takes over.

Franco Stelzer's mastery gives us a marvellous character, a presence that is not to be forgotten. The text, with Central European veins, is inlaid with a profoundly Italian language, as beautiful as a snow crystal. A tale whose precise and measured dose of enchantment makes the prose and its rhythm capable of painting such a creature, Bodo, adhering to her delicate dementia with all the complexity and intelligence of the voice that narrates it. His empathy towards the figure he is inventing is total, with a hint of cruel harshness that concerns Bodo, but above all, exemplarily through him, all of us. This love story is a powerful whisper. The absolute pain that runs through it, however, only comes in second, because the winner, on a knife's edge, is instead a mysterious and inalienable happiness.

Franco Stelzer was born in 1956 in Trento, where he returned to live in 2002, after long stays in Bologna and Germany. He worked for many years as a teacher of Literature at a linguistic high scool. He was a translator from German (Perutz, Ungar, Tumler, Gruenbein), he writed the volumes of short stories Ano di volpi argentate (2000), Il nostro primo, solenne, stranissimo Natale senza di lei (2003), published by Einaudi, and the novel Matematici nel sole (2009), published by Edizioni Il Maestrale. In 2018, Einuadi published his last novel Cosa diremo agli angeli.

Namir, a young Iraqi scholar with a PhD from Harvard, is hired by filmmakers to document the devastation of the 2003 invasion of Iraq. On an excursion to Baghdad, Namir ventures into al-Mutanabbi Street, famous for its bookshops, where he meets Wadud, an eccentric librarian who is trying to catalogue everything destroyed by the war: from objects, buildings, books and manuscripts, flora and fauna to human beings. Namir becomes obsessed with Wadud's archive and, looking back on his life in New York, discovers how deeply intertwined it is with fragments of his land's past and present. Almost a stylistically ambitious "landscape exercise" between the wreckage of war and the power of memory.

Sinan Antoon, born and raised in Baghdad, is a poet, novelist, translator and academic. He received a doctorate in Arabic Literature in the United States in 2006. His poems and essays have appeared in several journals, in English and Arabic. His published novels include 2010's Wahdaha Shajarat al-Rumman ("Only the Pomegranate"), winner of the Best Arab Book Award in 2014. He is currently an associate professor at New York University's Gallatin School and co-founder and co-editor of Jadaliyya magazine.

There is the ocean. There is the sycamore, and the jujube too. There is the war. There are mothers, daughters. And there is the habaryar, the little mother. There are Mogadishu, Rome, the Europe of hers and the Europe from the African history. Ubah Cristina Ali Farah's world unravels in a complex and clearly contemporary space, marked by profound references to an ancient wisdom and an often, but not always, dreamlike dimension. The first collection of short stories published in Italy includes the entire literary journey of Ubah Cristina Ali Farah, as well as a series of poems and an unpublished play. The refinement of her language emerges powerfully, showing the international stature of one of the most interesting Italian writers on our artistic scene.

Ubah Cristina Ali Farah is a Somali and Italian writer and poet. Winner of the Lingua Madre Prize (2006) and Vittorini Prize (2008), she's the author of three novels: Madre piccola (Frassinelli, 2007; 66thand2nd, 2022), Il comandante del fiume (66thand2nd, 2014; 2022), Le stazioni della luna (66thand2nd, 2021) and the ekphrasis La danza dell'orice (Juxta Press, 2020) inspired by a work by Kenyan artist Wangechi Mutu. In 2018 he worked on the rewriting of Antigone directed in Palermo by Giuseppe Massa and the libretto of the community opera Silent City for Matera 2019, directed by James Bonas with music composed by Nigel Osborne. He is a consultant for UNDP Somalia on the Oral History Histography for Peacebuilding project.

Giorgia Tribuiani's luxuriant literary output seems to revolve around a central point that is brought into direct focus here: the author wrote these pages gazing at the eyes of Medusa. But instead of being petrified, she has managed to creatively take us to this perturbing place.  The short and dry chapters of this novel take us ruthlessly into a tragedy with no way out, namely the scene in which the suicidal person awaits impact. The lingering trauma, however, is that of the train driver, who can do nothing against the inescapable approach of the crash, in spite of all the attempts required by the intervention protocol. The lost life of the suicide creeps into the driver's life like an element nested deep within. The stark, linear chapters in which this tragedy unfolds alternate with other chapters in which we see the traumatised man trying to cope with this disruption in his life that has seeped into him.

The author accompanies her text with an excellent interview on post-traumatic stress disorder with Dr. Domenico De Berardis, psychiatrist and psychotherapist, Director of the Giulianova (TE) Mental Health Centre.

Giorgia Tribuiani was born in Alba Adriatica in 1985. She has a degree in Publishing and Journalism and a master's degree in Marketing and Communication. She has collaborated with several newspapers and edited online communication for some multinationals. She currently teaches creative writing and holds literary consultancies. She has published Guasti (Voland, 2018), Blu (Fazi, 2021), Padri (Fazi, 2022), Superstar (Tetra Edizioni, 2022) and has appeared in the anthologies Abruzzesi per sempre (Edizioni della Sera, 2019), Polittico (Caffè Orchidea, 2019) and Nuvole corsare (Caffè Orchidea, 2020). For Audino Editore she is the author of a creative writing manual on the uncanny genre, Writing the Uncanny. Models, Techniques, Strategies (2023).