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In 1957, Giuseppe Tomasi, the last Prince of the Sicilian Lampedusa family, died impoverished and unknown, leaving behind the manuscript of a book he had recently finished. The following year the book, The Leopard, was published in Italy and has since been widely translated and recognized as one of the great novels of the twentieth century. For over a quarter of a century, the reclusive man's papers were hidden from the public, until David Gilmour was befriended by Lampedusa's adopted son. From letters, diaries and notebooks, Gilmour has brought to life the unlikely character of this enigmatic genius, and his milieu in Sicily and Europe. The Last Leopard is a fascinating meditation on what makes a writer and a masterpiece.
- Sales Rank: #60555 in eBooks
- Published on: 2012-12-01
- Released on: 2012-12-01
- Format: Kindle eBook
From Publishers Weekly
At age 47 Giuseppe Tomasi, prince of Lampedusa (1896-1957), still slept in the bedrom where he had been born. The abnormally taciturn recluse, who mined the history of his Sicilian aristocratic family in its ruinous decline for his classic novel The Leopard , had a "vexatious, disappointing and often pathetic life." His arrogant, sharp-tongued father, fueled by a ridiculous sense of pride, spent much of his life quarreling with relatives over money. Lampedusa's domineering mother nearly wrecked her son's marriage to psychoanalyst Beatrice Mastrogiovanni, a largely epistolary relationship for years at a stretch. In this elegant, sprightly biography, Gilmour ( Lebanon: The Fractured Country ) draws an incisive portrait of a curious modernist outsider deeply skeptical of all human motives. Lampedusa's fictional counterpart, Don Fabrizio, The Leopard 's protagonist, likewise seems a contemporary figure swinging from hedonistic pursuits to the contemplation of eternity without a personal God. Photos.
Copyright 1991 Reed Business Information, Inc.
From Library Journal
Lampedusa's great novel The Leopard ( LJ 6/1/60) was accepted and published to international acclaim only after its author's death. Lampedusa had led a largely uneventful existence as a minor member of the Italian aristocracy, and his life reads at times like one long preparation for his novel, which in many senses it was. Besides establishing the sometimes meager biographical record, Gilmour analyzes The Leopard in historical and aesthetic context and examines the surprising controversy its publication generated in Italian literary circles. This book, the only one in English on Lampedusa, is recommended for collections of modern continental literature.
-Grove Koger, Boise P.L., Id.
Copyright 1991 Reed Business Information, Inc.
From Kirkus Reviews
The first official biography of Giuseppe Tomasi, prince of Lampedusa and author of The Leopard, recounted by British journalist (and family friend) Gilmour with an elegance and precision worthy of his subject. When The Leopard was published in 1958 to great acclaim, Lampedusa was already one year dead and entirely unknown as a writer. Intensely shy and self-contained, he did not even begin writing until late in life and left the world no picture of himself save that contained in his portrait of Don Fabrizio, the doomed aristocrat of his novel, whose declining fortunes mirrored that of the Lampedusa family. The last scion of a long line of Sicilian nobility, Lampedusa grew up in a world that had little use--and no role--for him, and he found his only refuge from the tedium of daily life in literature: A voracious reader, he was capable of working his way through entire novels at a single sitting. Ill at ease among intellectuals, Lampedusa made little use of his literary interests until--well into middle age--he began to give informal lectures on English poetry and prose to a small circle of friends. Gradually he formed the notion of writing a novel that would ``preserve'' the nearly vanished world of Sicily's ancien r‚gime, much as the works of Dickens had captured 19th-century London. With marvelous insight and clarity (aided by an unimpeded access to Lampedusa's notes and papers), Gilmour traces the process by which the aging prince came to an understanding of his own history and managed to transform what he himself saw as ``a largely wasted life'' into one of the most controversial and admired novels of the century. A fascinating chronicle: Gilmour writes with the assurance of a seasoned scholar and the ease of a born storyteller. -- Copyright ©1991, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
6 of 9 people found the following review helpful.
Great Insight!
By Alan G. Hartman
This book presents the reader a well rounded and very insightful look into Giuseppe Tomassi di Lampedusa. It was great!
28 of 30 people found the following review helpful.
Something of the Hero
By Buce
This biography of Giuseppe di Lampedusa is a fine book in its own right, but its greater merit is the way it illuminates both the novel and the movie that remain as the legacy of di Lampedusa's career. Aside, perhaps, for his friends and neighbors, we wouldn't remember him at all were it not as the author of "The Leopard," not published until after his death, but in time to emerge as perhaps the best-known Italian novel of the 20th Century.
Most people, whether or not they have ever heard of the novel, will recognize it (if at all) in the form of Burt Lancaster, swooping around the ballroom floor in Visconti's great movie. It's wonderful fun but it is doubly misleading. Lancaster persists in our mind as the picture of what we want an aristocrat to be: lean and strapping, dignified and austere. A careful reading of the novel will remind us that this was never quite what di Lampedusa had in mind: his own fictional account of his princely great-grandfather is far more nuanced and ironic.
Yet even in the novel, something of the hero remains. Turn now to the first page of the photo insert after page 114: here we see the prince himself, Giulio Tomasi, Prince of Lampedusa. And what an unsettling revalation emerges. He is sturdy (fat?) and he projects an air of dignity. Or tries to: but on anything more than a glance, we see that he is shy, tentative, and perhaps half bewildered at his own position. And the muttonchop sideburns: perhaps they made sense in his time, but for the contemporary observer, they can't be anything more than absurd.
Tactfully but inescapably, Gilmour in his text acknowledges the truth of the portrait. Prince Giulo "had some of the despotic qualities of his fictional counterpart," by Gilmour's account. "Yet on the whole," Gilmour continues "he appears a milder, weaker and more insignificant person..." The Prince was "not interested in politics," and his achievements in astronomy were "insubstantial."
The novelist's portrait, then, is not a likeness. Better to describe it as the vision of an astonished child. It is nonetheless gripping for that; yet one cannot help but wonder how much of the reality the reader of the novel (much less the moviegoer) really understands. In a remarkable essay essay (which Gilmour substantially reprints here), di Lampedusa himself rails against what he calls the "infection" of Italian opera. And not just in itself: rather, di Lampedusa argues, opera has inflicted great damage on Italian public life. "Saturated and swollen-hearted by ... noisy foolishness," says di Lampedusa (quoted by Gilmour), "the Italians sincerely believed that they knew everything."
No one would say that "The Leopard" is "noisy foolishness." But reading Gilmour, we have to conclude that di Lampedusa's portrait of his ancestral homeland romanticizes history in its own way. It is to Gilmour's great credit that he sets the record straight, not with sensationalism, but steadily and unblinkingly, as the homage history pays to art.
4 of 5 people found the following review helpful.
Conviced by this intriguing biography. I must read the novel.
By Loves the View
This short biography shows how The Leopard, one of Italy's most important novels, arose from the particular social position and the literary interests of its author. Born in 1896, Guiseppe Tomasi di Lampedusa saw, in his lifetime, the decline of the Sicilian nobility in which his family was firmly placed. He was a prince, and the "last" of a family with a leopard in its crest.
Author Gilmour shows how Lampedusa's family, like other noble families of Sicily, had been losing their lands and wealth to invasion, nature, changing times and as Lampudsa would have it, lack of initiative. After World War II, despite his reduced financial condition, he still had a title and a wealthy wife and continued the leisurely life of a noble; a life of travel, family visits, theater and café lunches.
Gilmour has read and interpreted for the reader notes Lampedusa left behind. They are from a survey course in European literature that he delivered to a small group of young people. They show him to appreciate history and its importance to literature. Late in life, with encouragement from his wife he took to writing, as is always recommended, he wrote what he knew. The book shows how it was written and how its writing affected the writer.
There is plenty of detail for thought. Lampedusa never learned to drive, he took the bus or was driven, sometimes to view lost family property. He hand wrote the manuscript and it was typed for him as he read it aloud in what appears to be the off hours of a legal office.
His relationship with his loyal wife is a paradox. Because he went out on a limb to court her (she was married) and married her outside the customs of his family, it seems strange that the pressures of war (not passion) prompted their living together. She was obviously ahead of her time, a Freudian psychoanalyst who set up a practice in their eventual home in Palermo.
Gilmour gives a good introduction to this author and makes me excited about reading the novel.
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