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inevitable impact of increasing literacy, particularly female literacy, especially in the center and north of the peninsula, reveals itself through the stories (both from the perspective of the characters as from that of the intended reader); similarly the unstoppable focus on the new roles for women in post-Risorgimento Italy is reflect- ed.It may be true that none of the authors here ever mentions fundamental femi- nist works by Luisa Anzoletti, or sculptress Adelaide Pandiani Maraini, nor the influence of foreign Italophiles such as Jessie Hillebrand, Alice Werner or Vernon Lee who worked assiduously to promote Italian literature in English translation; the names of the Cecchini sisters, (Caterina and Laudomia Zanoboni), of the Pasolinis (Angelica and her sister-in-law Maria), and countless others may be silenced even in this volume, but in the short stories their ideas insist on inserting themselves, willy niliy, into the fictional fabric of the narrative.Readers of the time came to expect and look forward to these and similar stories, feuilleton inspired, in the Illustrazione italiana, the Fanfiilla della Domenica, the Perseveranza and other similar periodicals; they wanted to be delighted, they wanted to be informed, and in the manner of De Amicis' Cuore, they wanted to witness the building of a new Italy.In reading the preface and post-face I was particularly struck by the sensitivity of Romani and Arslan to the cultural memory of this nineteenth-century
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