Abstract

The article explores the ways in which Carlo Emilio Gadda builds his own authorship. Starting from an analysis of L’Editore chiede venia del recupero chiamando in causa l’Autore and Come lavoro, the article shows that it is necessary to be always very careful when we deal with Gadda’s own declarations and definitions concerning authorship and authorial responsibility, disseminated in a variety of contexts, including fictional works, essays, and interviews. The article argues that having a better understanding of this topic is an essential precondition to place Gadda’s work within the appropriate framework. Delving into the contemporary theoretical debate on the category of “intentionµ, the article moves then back to Gadda’s early literary and philosophical works such as Racconto italiano di ignoto del novecento and Meditazione milanese, and provides new insights into the issue of Gadda’s realism.