L’italiano*, by Sebastiano Vassalli, is a book published in 2007 that spans approximately two centuries of history in an attempt to answer a complex question: what does it mean to be Italian?
It is neither a novel with a single plot nor a traditional historical essay. Vassalli constructs a mosaic made up of real figures, historical situations, and partially invented narrative elements.
Through these stories, the author observes certain characteristics he considers recurring in Italian society: individualism, opportunism, adaptability, narcissism, distrust of institutions, and a tendency to avoid responsibility.
Thanks to its blend of literature, history, and irony, it makes for a fascinating read for students with a solid B2 or C1 level who wish to gain a deeper understanding of Italian culture and engage with a text that differs from a conventional novel.
What is L’italiano by Sebastiano Vassalli about?
The book consists of a series of portraits dedicated to figures who lived through various moments in Italian history.
Vassalli does not attempt to reconstruct each figure’s entire life. Instead, he selects a specific episode to reveal their contradictions, fears, and relationship with power, society, or history.
Among the protagonists, we find Ludovico Manin, the last Doge of Venice; Francesco Crispi, one of the most important political figures of unified Italy; Emanuele Notarbartolo, considered one of the first major victims of the Mafia; and the writer Sibilla Aleramo.
Less well-known figures also appear, such as a soldier singing at the front during World War I, a civil servant capable of adapting to both Fascism and anti-Fascism, or two young revolutionaries who verbally confront Palmiro Togliatti.
Although some figures belong to the realm of Italian politics or culture, Vassalli does not present them as heroes. He observes them in moments of weakness, fear, opportunism, or contradiction.
How is the book structured?
L’italiano* consists of thirteen parts.
The first, Chi, io?, serves as an introduction. It is followed by eleven portraits:
- The Doge
- The Priest
- The Commendatore
- The Father of the Nation
- The Tenor
- The Dissident
- The Political Turncoat
- The Carabiniere
- The Feminist
- The Two Revolutionaries
- Mr. B.
The final section, Sì, tu, serves as a conclusion and returns the opening question to the reader.
The stories follow a roughly chronological order. The journey begins in the late 18th century, passes through Italian unification, the world wars, Fascism, and the Republic, and reaches contemporary Italy.
This structure allows the book to be read at a leisurely pace. Each chapter can be understood as a relatively independent story, though all contribute to building the collective portrait Vassalli proposes.
Historical figures as human beings
One of the book’s most interesting aspects is the way Vassalli narrows the gap between historical figures and the reader.
Instead of presenting them solely through their official roles and public actions, he places them in intimate situations. We see them aging, frightened, ill, angry, or attempting to justify their own decisions.
Francesco Crispi, for example, appears at the end of his life as he mentally reconstructs his past and tries to absolve himself of his mistakes. Ludovico Manin must live with the accusation of having betrayed Venice. Sibilla Aleramo finds herself confronting the personal consequences of her independence.
This perspective reminds us that history is not made up solely of dates, laws, and events. It is also composed of human beings who make decisions shaped by their ambitions, insecurities, and contradictions.
What image of Italians does Vassalli present?
The portrait the book offers is not particularly flattering.
Vassalli describes a society in which many people try to adapt to any situation without clearly accepting their responsibilities. The Italian portrayed in these pages shifts his stance whenever circumstances demand it and tends to view others as the ones always at fault.
Political opportunism (*Transformismo*)
One of the central themes is *transformismo*—political opportunism—defined as the ability to alter one’s ideas or alliances to retain power and survive politically.
The most striking example is Saverio Polito, a Fascist police official who, following the regime’s collapse, manages to reinvent himself as an anti-Fascist and continue his career within democratic institutions.
Vassalli presents this behavior not as an isolated individual case, but as a symbol of a collective transformation that allowed many Italians to shift their allegiances without confronting their past.
The difficulty of accepting responsibility
Across various stories, the characters find ways to justify their decisions. They view themselves as victims of circumstance, politics, or the mistakes of others.
The question running through the book could be summarized thus: when the time comes to answer for our actions, do we acknowledge our responsibility, or do we react as if the accusation had nothing to do with us?
Individualism and collective life
Another important aspect is the distinction between being sociable and possessing a genuine sense of community.
The characters may come across as likable, quick-witted, and adaptable, yet they also display a deep distrust of institutions and shared rules.
This contradiction allows Vassalli to reflect on a society where individual ingenuity can be both a virtue and a means of evading collective responsibilities.
Signor B. and contemporary Italy
The final portrait is devoted to signor B., an obvious reference to Silvio Berlusconi.
Vassalli does not present him as a sudden anomaly, but rather as the most visible expression of traits already present in the country’s history: narcissism, a desire for the spotlight, individualism, powers of seduction, and a blurring of the lines between private interests and public life.
The character thus serves as the culmination of this historical journey. After examining politicians, revolutionaries, military figures, and writers from various eras, the reader encounters a contemporary figure who embodies—and exaggerates—many of the traits previously described.
This chapter also reveals that the book’s aim is not merely to criticize specific individuals. Vassalli wants the reader to consider the extent to which these characteristics are present in society as a whole.
What works well and what is less convincing
One of the book’s strengths is its ability to blend historical information with storytelling. Vassalli transforms figures who might otherwise seem remote into recognizable, human characters.
The episodic structure also works well. The reader is not bound to a lengthy plot and can pause after each chapter to research the historical context or reflect on the character in question.
Irony prevents the book from becoming a dry, heavy essay without undermining its critical tone; many situations are simultaneously amusing and bitter.
However, the book does require some knowledge of Italian history. Vassalli does not always provide detailed explanations of the characters or the political circumstances surrounding them. Readers unfamiliar with figures like Crispi, Togliatti, Aleramo, or Notarbartolo will likely need to seek out additional information.
Furthermore, some of the stories revisit or rework characters and passages that appeared in the author’s earlier works. Consequently, the volume can feel more like an anthology of past themes and characters than a completely standalone work.
Finally, the notion of identifying a single “Italian character” is open to debate. Italy is marked by significant regional, social, and generational differences, and not all the behaviors Vassalli describes are exclusively Italian.
For this very reason, the book works best when read as a provocation rather than a scientific definition of national identity.
The style and register of *L’italiano
Vassalli employs a clear, precise, and generally fluid prose. He alternates between narration, historical reconstruction, reflection, and dialogue.
The chapters contain descriptive passages with a relatively elevated register, but also conversations and expressions closer to spoken Italian.
From a grammatical standpoint, the reader will encounter:
- Various past tenses.
- Frequent use of the passato remoto.
- Passive forms.
- Conditional sentences.
- Direct, indirect, and combined object pronouns.
- Use of the particles *ci* and *ne*.
- Connectors typical of narrative and argumentation.
- Historical, political, and social vocabulary.
The main difficulty does not always lie in the grammar. Irony, historical references, and the narrator’s implicit judgments require interpreting the text beyond its literal meaning.
What level of Italian do you need to read it?
I would recommend L’italiano to students with a solid B2 or C1 level.
A B2-level student can follow most of the stories, especially if willing to look up information about the characters and events mentioned.
To fully grasp the irony, political references, and reflections on Italian identity, a C1 level is more suitable.
The main difficulties are:
- Historical and political vocabulary.
- The use of the *passato remoto*.
- Shifts in register.
- Implicit cultural references.
- The narrator’s irony.
- The lack of detailed explanations regarding certain characters.
- Long sentences found in certain reflective passages.
However, the structure of independent stories allows you to progress slowly and work on one chapter at a time.
Why is it useful for learning Italian?
It offers insight into Italian history.
The book covers key events of the last two centuries: the fall of the Republic of Venice, Italian unification, the world wars, Fascism, the Resistance, the Republic, and contemporary politics.
It does not replace a history textbook, but it can spark curiosity and help connect figures, events, and eras.
Helps in understanding irony
Vassalli rarely presents his opinions in a completely direct manner. He describes situations and characters, leaving it to the reader to recognize their contradictions.
This reading is useful for learning to distinguish between the literal meaning of a phrase and what the author actually intends to convey.
It expands political and social vocabulary.
The text contains words related to institutions, war, power, responsibility, opportunism, and collective identity.
This vocabulary can be particularly useful for advanced students who wish to discuss Italian history, politics, or society.
It allows for the comparison of different registers.
A single chapter may feature historical reconstructions, the narrator’s reflections, and more colloquial dialogue.
This variety helps one observe how Italian changes depending on the communicative situation and the type of text.
How to read L’italiano to improve your proficiency
To get the most out of the reading, you can follow this method:
- Read a full chapter without looking up every unfamiliar word.
- Identify the historical figure and the period in which they lived.
- Look for a brief explanation of the historical context.
- Note down recurring political, social, or historical vocabulary.
- Mark passages where the narrator uses irony.
- Summarize each story in four or five sentences.
- Explain which characteristic of “the Italian” each character represents.
- Decide whether you agree with Vassalli’s interpretation.
- Compare two characters from different eras.
- Write a brief reflection on whether the behaviors described exist in your country as well.
This final exercise turns the reading into a writing activity and prevents the book from becoming merely a succession of names and historical events.
Is L’italiano worth reading?
Yes, especially if you are interested in history, politics, and Italian identity.
It is not the best choice for readers looking for a novel with a continuous plot or a purely emotional read. Nor is it an easy book for lower-intermediate learners, because it assumes cultural knowledge that a foreign reader may not have.
However, its fragmentary structure, variety of characters, and ironic tone make it a stimulating read for advanced students.
Rather than offering a definitive answer about what Italians are like, Vassalli poses an uncomfortable question: how much of these characters exists in today’s Italian society—and within each of his readers?
Si buscas otras lecturas adaptadas a diferentes niveles, consulta mi selección de 12 libros en italiano para aprender según tu nivel.
También puedes leer mi análisis de In Asia de Tiziano Terzani, una obra muy diferente que permite trabajar el italiano a través del periodismo, los viajes y la historia contemporánea.
Y si quieres aprender a analizar textos literarios, expresar opiniones complejas o hablar sobre historia y cultura en italiano, descubre mis clases de italiano individuales y en grupo.
