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当代意大利作家中,如卡尔维诺那样被奉为圭臬,研究者蔚然成流者鲜有第二人。卡尔维诺作品的价值不止在于他是战后由新写实到“中心丧失”的80年代所有文化大事记的见证人,更在于他懂得把这些经验放入作品,供人省思之余,犹绽放出惊人的想像光芒。《巴黎隐士》作为第一人称的自传式杂著,让我们清楚看到卡尔维诺的文学、政治、生活抉择及背景,解决了“翻译成当地语言的文学作品就这么孤零零如陨石般从天而降,评论及大众只能透过它来猜测原星球模样”的尴尬。收有1953年到1985年发表于各报章杂志的访问、短文及未曾发表的《美国日记》,卡尔维诺展现在读者面前的是他的“成长”过程。
Contemporary Italian writers, like Calvino, are regarded as preoccupations, and there are few second-person researchers. The value of Calvino’s work lies not only in his testimony of all cultural memorabilia in the 1980s from the new realism to the “loss of center” in the post-war period, but also because he knows how to put these experiences into the works for people’s thinking. Juya release amazing imagination. As a first-person autobiographical hybrid, the “Parisian Hermit” made us clearly see Calvino’s literary, political, life choices and backgrounds and solved the problem that “literary works translated into local languages are as solitary as meteorites falling from the sky, Comments and the general public through it to guess the original planet appearance ”embarrassment. With interviews, essays, and unpublished “American Diaries” published in various newspapers and magazines from 1953 to 1985, Calvino shows his readers the “his” “growth” process.