Italy Guest of Honour 1988-2024: A Journey Through Time

At that time, Italy was basking in a golden age of literature. The international acclaim of Italian fiction was largely driven by the success of Umberto Eco, whose impact was as profound as the current 'Ferrante Fever' – notwithstanding her obvious and deliberate absence. Italy emerged as the ideal choice for this honour, distinguishing itself from the other two contenders: France, preoccupied with organising the bicentenary of the Revolution, and Japan, less adaptable in its timing and approach. 

The Berlin Wall had not yet fallen. The EU summit in Milan hinted at the imminent creation of a unified internal market and the advent of the euro. Germany was edging closer towards reunification. Meanwhile Italy's cultural landscape was as vibrant as ever: Giuseppe Tornatore's Nuovo Cinema Paradiso premiered on the big screen, destined to win an Oscar; in bookstores, Umberto Eco's Foucault's Pendulum was poised to rival the success of its predecessor, The Name of the Rose; and people scoured shops for the elusive Cacao Meravigliao, the first fictional product to be introduced by Renzo Arbore's television show. Pop culture, postmodernism and a new era of television were beginning to take shape. A young Jovanotti was singing È qui la festa.  

And indeed, the festa was in full swing—right there in Frankfurt.  

A quick glance at the guest list reveals such luminaries as: Natalia Ginzburg, Leonardo Sciascia, Elsa Morante, Alberto Moravia, Oriana Fallaci, Luciano De Crescenzo and Pier Vittorio Tondelli.  

As book-lovers scroll through the list of names, it's easy to feel a certain nostalgia—though it might be more fitting to describe it as a sense of 'rootedness', a sentiment that aligns perfectly with the motto "Radici nel futuro" ("Roots in the Future") for Italy's Guest of Honour 2024. It reinforces the idea that writers from the past, even those from the recent past, are more than mere historical or cultural figures, but continue to be read globally, acting as vital conduits of culture, seamlessly connecting the present with the future. Claudio Magris and Dacia Maraini, both of whom will participate in this year's event, stand as exemplary witnesses to this enduring legacy. 

With this in mind, and to highlight literature’s unique ability to connect different eras and places, the Italian Pavilion will present a special photographic exhibition titled "60 scrittrici e scrittori italiani del XX secolo" [60 Italian Female and Male Writers of the 20th Century]. This exhibition will celebrate authors whose works have been translated into German.

Even in 1988, the pavilion was a treasure trove of surprises. The renowned set designer Mario Garbuglia, famously known as "Visconti’s set designer" for his work on The Leopard as well as films by Monicelli and Pasolini, transformed the space into a citadel of books - a labyrinth graced by the eminent names of Italian culture. Visitors were welcomed into a reconstructed Benedictine scriptorium, straight from the film of The Name of the Rose, guiding them through concealed corridors of knowledge. Today, a Renaissance studiolo will offer guests the opportunity to discover other marvels from our past.  

Back then, the master of Cinecittà, Garbuglia, who received both acclaim and criticism – does a craftsman belong at the Book Fair? – and today, the distinguished architect Stefano Boeri: both intent on breathing new life into these treasured spaces of the soul. The transformation from yesterday's Caffè degli specchi—a refined homage to the iconic Italian café—to today's literary-themed version, the Caffè Letterario, at the very heart of the Piazza, reflects a shifting perspective. This contemporary space, alongside the the Arena where author events will be held, will become the focal point for literary enthusiasts, reflecting a design concept that serves to encourage dialogue and celebrate a richly multicultural dimension.

Fashion also played a prominent role back then, with Armani and Versace leading the way as champions of Made in Italy, a movement that was beginning to make its mark globally. The pavilion hosted exhibitions such as "Guido Reni and Europe", "Brunelleschi and His City", "17th-Century Drawing" and "Avant-Garde Art". Where Bodoni was celebrated then, today we pay tribute to Aldo Manuzio and Machiavelli, the prince of political thought, alongside Goethe, the esteemed traveller of the Grand Tour. These figures embody the same commitment to showcasing the best of Italian creativity and those "stories of the human soul that overcome the boundaries of nations", as described in the Italian Diary a publication dedicated to the 1988 Frankfurt Book Fair.

Cinema, photography, and gastronomy took centre stage showcasing the Italy of the Alinari - the renowned family of photographers known for their documentation of Italian culture, history and landscapes - as well as Giulietta Masina and the concept of Mangiar leggendo ("reading while dining") in a well-stocked programme of creative ideas and diverse perspectives. The presence of Federico Fellini and Claudio Abbado and other prominent figures added to the grandeur, and opera featured then as now, as a contrasting art form to literature in a series of concerts showcasing the heights of contemporary performances.

Naturally, close to the turn of the 21st century, discussions about artificial intelligence, the web and digital media were non-existent, as were panels on platforms such as Wattpad, TikTok, e-books, book influencers, podcasts and audiobooks. Today, however, we look ahead to a future shaped, or perhaps driven, by innovations such as ChatGPT.

Italy’s mission as Guest of Honour in 2024 extends beyond celebrating the past and narrating the present; it is also a question of envisioning the future. We must reflect on our origins to continue our journey through time.