![]() ![]() Moore preserves the heteroglossia of the novel, its rich impasto of spoken and written styles whose incompatibility is one of its deep subjects. ![]() Moore’s new version strikes me as remarkable, extraordinarily well pitched, finding the right levels of colloquialism and eloquence. Readers find themselves caught up in a drama of heteroglossia that propels not only the plot but the entire historical resurrection that Manzoni attempts. The novel from its start becomes polyphonic or what one can call, in Mikhail Bakhtin’s term, 'heteroglossic'-a linguistic theater with a multisided clash of voices. It’s a startling new way to write history within fiction. What we get is not only an evocation of past languages of authority attempting to order a messy reality but an interpretive sociolinguistic game of high stakes. The result is not only a historical novel but a kind of historiographical novel that invites the reader to enter the dynamic of reading and writing history. ![]() Manzoni embeds his sources in his text-citations from the gride and old chronicles such as Giuseppe Ripamonti’s Historia patria. ![]()
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