In his Materiali onirici di un somarello marino ("Dream Materials of a Seahorse"), the author gives us what is so far his most mysterious book, an unexpected underwater tale. With fairytale-like movements, aquatic beings meet and turn away: a blue goldfish, a Pippocampo hippocampus, sponges, crabs, prawns such as Lucio, and an enigmatic seahorse named Italia. These beings move through scenery of abandoned wrecks, seabeds, tuffaceous stones, corroded metal railings mixed with molluscs, and corals. However, the tale has a painful soul, every character swim in a nightmare full of dangers (including us humans with our nets and aquariums), and nobody is master of his own direction. This is an important text to penetrate the writing of this narrator of ours, a Ligurian of hinterland and steep stones who here descends directly below the surface of the sea and shows us in the form of an apologue what moves beneath the earth's crust of stories.

Marino Magliani was born in a Ligurian valley and has spent most of his life outside Italy. Today he lives between Liguria and the Dutch coast, where he writes and translates. Writer, translator, comic book scriptwriter, his latest novel is Il bambino e le isole (66thand2nd, 2023), while his latest translation is Islario fantastico argentino (TARKA editions, 2023). Perhaps, he would never have written "The Speech of a Hippocampus" if he had not called himself Marino.

Through the story of the tarantella, a passionate and ancient dance of celebration, courtship and healing, Gilda Policastro engages in a pressing exploration and reflection on her own evolution, a cultural, sentimental, sexual and existential evolution. In La ragnatela, each sentence encapsulates and demonstrates the writer's skill and intelligent mastery. Because it is the way it is written (the rhythm, the astonishing mixture of lexicons derived from spheres that are in themselves distant, which in her hands collide and flourish in the same paragraph, the essentiality of the writing) that makes the text astonishing: how the author managed to find an unexpected USB port in our cerebral circumvolutions is unknown, but the fact remains that the download we manage to make of so many third-contents is as quick as a spider bite.

Gilda Policastro has published, among others, the novels Il farmaco (Fandango, 2010), Cella (Marsilio, 2015), La parte di Malvasia (La Nave di Teseo, 2021) and the poetry books Non come vita (Aragno, 2013), Inattuali (Transeuropa, 2016) and La distinzione (Giulio Perrone, 2023). A lecturer in Italian Literature, he collaborates with the Molly Bloom Academy of Creative Writing in Rome and the cultural websites Le parole e le cose. Literature and Reality and Snaporaz. He has published essays on contemporary authors, including L'ultima poesia: scritture anomale e mutazioni di genere dal secondo Novecento a oggi (Mimesis, 2021).

In order to finally solve the chronic adversity of Italian train delays on the scheduled timetable, an ingenious solution is found: timetables are abolished by law!
With a weakened, seemingly benevolent writing style, Andrea Vitali sets up a situation with fabulous tones that seems suspended in time. The apologue flows amusingly, with a grain of madness, dislocated from factual reality with millimetric precision, just enough (not a step too far) to welcome the reader into a pastime of blissful escapism.
Storia di treni, ministri e minestrine encloses a core of merciless, radical, bitter satire on our country in an operation of refined realism. Only by fully mastering the art of storytelling is it possible to hang an entire story from an initial paradox that continually generates others, until a mocking, circular closure. This dystopian but backwards-looking Italy (trains, yes, but with a 19th-century flavour, one might say) is the contraption that Vitali gives us to sing along with him this small, devastating, surrendered, light-hearted taunting about our country. He does so with skill, amusement and cruelty.

Andrea Vitali was born in Bellano, on Lake Como, in 1956, where he has always lived, practising as a doctor until 2013 and then devoting himself solely to writing. His debut novel was Il procuratore (Camunia Editore) in 1990. His most recent titles are Genitori cercasi (Einaudi, 2024) and Sua eccellenza perde un pezzo (Garzanti, 2024). He currently collaborates with Il Fatto Quotidiano.

In Turin, for the first time, Khalil Rabah's Palestinian Museum of Natural History and Humankind takes the form of an archaeological site, in which the visitor is invited to immerse himself in a historical narrative rendered through testimonies and clues. In the spaces of the Fondazione Merz, the artist challenges the role of the museum as a mere container and focuses on art as a tool for the interpretation and correction of history. Khalil Rabah's artistic practice ranges between painting, sculpture and installation to construct a lucid and careful analysis of history and its interpretations, questioning their narrative modes and the perception they generate. Fundamental themes such as change, memory and identity intersect in his work, creating new ways of representing communities and relationships. ways of representing communities and the relationships that make them up.

The catalogue accompanies the project conceived by Khalil Rabah for the Fondazione Merz and was created as an extension of the Palestinian Museum of Natural History and Humankind (PMNHH). Developed as a nomadic museum institution that the artist inaugurated in 2003, Rabah's museum, which includes departments such as geology, botany and palaeontology, has seen several iterations around the world and is identified as a project in constant evolution.

Khalil Rabah is a Palestinian conceptual artist born in Jerusalem in 1961. He studied Architecture and Fine Arts at the University of Texas at Arlington and has resided in the United States for over a decade. His most recent solo exhibitions include Casa Árabe, Madrid (2016); Kunsthaus Hamburg (2015); e-flux, New York (2013); and Beirut Art Center (2012). As well as major group exhibitions, including Manifesta 12 Palermo (2018); Sharjah Biennial (2017); Marrakech Biennial (2016); Kochi-Muziris Biennial (2014); Thessaloniki Biennial (2013); Mori Art Museum, Tokyo (2012); Mathaf, Doha (2010); and Venice Biennale (2009). Rabah is the initiator and artistic director of the Riwaq Biennale and a co-founder of the Al Ma'mal Foundation for Contemporary Art, Jerusalem. From 2011 to 2015 he served on the curricular committee of Ashkal Alwan's Home Workspace programme in Beirut, Lebanon.

It can be said that Margherita Loy's mother tongue is directly literary Italian. In these three new short stories, the main elements are the writing's ability to be simple yet open up sudden complexities, the play of references between past and present, the tension between the narrated scene and the one seen that liquefies in the experience of the word, the rarefaction that is evoked with clear and precise terms, the reverberations of infinite readings that have always been inhabited, Bassan reflexes, the thought that plays with words. And above all, the presence of the emblematic object that catalyses lost stories towards itself and makes their narration available.
We have three jewels in this collection. Each encloses a world, preserves relationships and affections, unrepeatable lives. But their essence as jewels reverberates on worlds, relationships, affections and lives with the value of their stones, gold, pearls.
Margherita Loy is a narrator who has a personal respect for the stories she tells. This is a character trait that permeates her prose and embellishes it, although the writer carefully keeps her razor sharp and her burin sharp in the face of pain and suffering.

Margherita Loy was born in Rome in 1959 and has lived in the Lucca countryside for many years. She has conducted programmes on books for the broadcaster Videomusic, cultural programmes on Rai Radio Tre, translated books for Astrolabio-Ubaldini Editore and published short stories in the magazine 'Paragone Letteratura' and in the anthology Parole apparecchiate (2011) published by Trasciatti Editore. He has created art books for children for Gallucci Editore: La cameretta di van Gogh (2015, 2023); Magritte. This is not a book (2021); Pop al pomodoro (2021). For Zona Franca Edizioni he published the collection of short stories V.O.L.A., Vino, olio, latte e acqua (2013), for Atlantide Edizioni the novels Una storia ungherese (2018), La dinastia dei dolori (2020) and Dio a me ha dato la collina (2022), while for the publisher Barta the novel Delia o mattino di giugno (2023) was published. He currently maintains a literature and art blog on Il Fatto Quotidiano.

"The house," writes Ernesto Aloia quoting Gaston Bachelard, "is one of the most powerful integrating elements for human thoughts, memories and dreams". The house is the family home, built in stone in 1930, a village house. The family branches out into the past, gradually losing sharpness, fading 'into great forgetfulness'. Aloia's lofty writing moves between the dark chambers of the house and people's lives, presenting the reader with a fluid series of images that move like a dancer on a tightrope in a shrewd balancing act. The outcome of such a unique touch is writing that is as powerfully evocative as it is seemingly rough.

A disenchanted narrator, deeply nourished by great literature, gentle by class and not by shyness, Ernesto Aloia sets up an enchanted ambience and does so with the concreteness of stones, he presents us with a vaporous object of ghosts and does so with a keen gaze, he invites us to a lush concert and does so in mute.

Ernesto Aloia is a writer from Turin born in 1965. He published for Minimum Fax the collections Chi si ricorda di Peter Szoke? (2003) and Sacra Fame dell'Oro (2006) followed by the novels I compagni del fuoco (Rizzoli, 2007), Paesaggio con incendio (Minimum Fax, 2011) and La vita riflessa (Bompiani, 2018).