Known and loved the world over, Pinocchio is the famous wooden puppet protagonist of the fairy tale novel written by Carlo Collodi between 1881 and 1883. Collodi’s masterpiece is not a simple fairy tale but a long and complex novel, considered a metaphor for the human condition. Translated into 260 languages, the book has made Pinocchio a universal cultural icon, in which the archetypal birth–death–rebirth motif structures the hero's growth into responsible boyhood.

Although part of a comedy, Pinocchio's adventures are not always funny. Indeed, they are sometimes sinister. The book depicts a world that includes injury, pain, and even death. The author also sought to portray the newly formed country of Italy, with its extreme poverty, lack of infrastructure, and newly developed judicial system.

Since its first publication, the book has inspired hundreds of new editions, stage plays, merchandise, television series, and movies around the world. Most people in the U.S. know the story of Pinocchio thanks to the 1940 Walt Disney animated film. The film, however, excluded parts of the novel and transformed much of its essence. The little wooden boy in the film, wearing Tyrolean clothing, is quite different from Collodi’s original character.

For Italians, the novel Le avventure di Pinocchio has exerted great influence on their culture and language. The book’s characters and their traits have become embedded in everyday language and iconography.

To prevent a child from telling a lie, mothers will say:
“Se dici le bugie ti cresce il naso come a Pinocchio!” (“If you tell a lie, your nose will grow like Pinocchio’s!”).

“Essere come il Gatto e la Volpe” (“To be like the Cat and the Fox”) describes a person who is a cheat and a fraud.

“Essere come Lucignolo” (“To be like Candlewick, Pinocchio’s lazy and mischievous friend”) points to a bad boy or someone who is a negative influence. In Tuscan dialect, it also describes a very slender person.

“Il Paese dei Balocchi” (“The Land of Toys,” or “Pleasure Island”) defines an imaginary place made only of games and entertainment, without rules or responsibilities. If a mother says, “Questo non è il Paese dei Balocchi!” (“This isn’t the Land of Toys!”), she wants to encourage a child to study and be dutiful.

“Fare il Grillo Parlante” (“To be like Jiminy Cricket, the savvy talking cricket”) is used, often ironically, to describe a person who intervenes in a pedantic way on every subject.

Pinocchio’s timeless qualities and charm are periodically revisited with new movies and TV series. Many movie adaptations of the original story exist. The highly rated Luigi Comencini’s Le Avventure di Pinocchio (1972) is widely regarded as the most faithful adaptation of the story, capturing the grimmer tone of the original book.

Other notable versions include Giulio Antamoro's silent film Le Avventure di Pinocchio (1911), the first movie version and also the most comical; Disney’s animated classic Pinocchio (1940); Luigi Martone’s Pinocchio (2019), with Oscar-winning Roberto Benigni as Geppetto; and more recently, Guillermo del Toro’s Pinocchio (2022), which won the Academy Award for Best Animated Feature.

About the author: 

Article written by Valentina Andreucci in collaboration with the ICC Editorial Team 

by Elizabeth McDowell

The Learned. The Red. The Fat.

These are the names that the people — and history itself — have bestowed upon the city of Bologna.

Within the walls of Bologna, that include Le Porte, symbolic thresholds which serve as physical bastions that rise high above both cobblestone and asphalt alike, there is a mosaic of both history and revolution, of both culture and rebellion.

The Learned.

The University of Bologna, founded in 1088, is the beating heart of Bologna. Known as the oldest university in Europe, and some say, in the world, it is also where Galileo Galilei himself tried to obtain a position as mathematics professor but was turned down. Pensa te!

There is also a museum open to the public in Piazza Luigi Galvani called the Anatomical Theatre of the Archiginnasio, a part of the university. Caravaggian, in contrast, its colors wild and bright, and the visuals breathtaking, weird and wonderful. A white marble slab is also there where Bartolomeo da Varignana performed live autopsies, and you can still see this fascinating artifact at the university.

The Red.

While the hills of Bologna are famous for the picturesque panoramas (which I highly recommend visiting if you have time — easily accessible by taxi or, if you prefer some calf-strengthening, on foot under the 666 porticoes toward the beacon in the sky, San Luca), it is also known for the Massacro di Marzabotto, or the Monte Sole massacre. Between September and October 1944, German SS troops killed around 780 civilians in anti-partisan retaliation in the hills south of Bologna. This makes it the largest single massacre of civilians in Western Europe during World War II.  

Bologna was one of the most important centers of the Italian Resistance during World War II. In fact, its partisan activity was so significant that Bologna earned the Gold Medal of Military Valor — la Medaglia d’Oro al Valor Militare —one of Italy’s highest honors

In post-WWII Italy, Bologna became known for developing progressive policies in housing, culture and public services. The city was one of the first European cities to experiment with free or heavily subsidized public transportation in the 1970s. Bologna also became known for Radio Alice, a free, anarchist radio broadcasting art, poetry, and political satire. Part anarchist experiment, part poetic outcry, Radio Alice burned as a torch of defiance after the death of Francesco Lorusso, a student and activist shot by police on March 1, 1977, in Bologna. Lorusso’s killing sparked riots, inspired a generation of artists and radicals, and shaped Bologna’s history and culture so deeply that its influence carries on even today.

Bologna is also where my favorite comic artist and symbol of this era, Andrea Pazienza, trained and lived. His Pentothal series is set in the world of the university students living in Bologna —cramped apartments, highly creative, and highly politicized — it captures the surreal humor and despair of the ‘77 movement.

The Fat.

Bologna, “The Fat,” does not refer to gluttony, but rather gratitude: a city that understands appetite as art, and every meal as a small act of belonging and familiarity.

One of the most famous examples is the story of the humble yet intricate tortellino. According to legend, an innkeeper in the nearby town, of Castelfranco Emilia, peeked through a keyhole and caught a glimpse of the goddess of Venus’s navel. So awestruck by its perfection, he recreated it in dough… and the tortellino was born. 

In Bologna, there is even a Confraternita del Tortellino: a real brotherhood founded in 1974 which aims to protect the authentic recipe of the tortellino bolognese, which they have formally registered. The traditional method for preparing and eating tortellini is tortellini in brodo (in broth). But in the chilly winter months, you can also find them swimming in a rich plate of cream.

Then there are crescentine. Crescentine are small, warm, golden pillows of fried dough beloved in Bologna and Emilia-Romagna. They are known by different names depending on the province — for example, gnocco fritto in Modena and Reggio Emilia. Locals drive up into the hills with friends to ‘Il Nonno’; as a traveler, you can take a taxi. You breathe in panoramic hills as the sun goes down, they bring out trays of salumi, soft squacquerone — a soft, fresh cheese from Emilia-Romagna which means ‘to melt, or to sag’, slightly tart yet sweet, which spreads across the crescentine, still warm, and melts just right under your slices of fresh prosciutto or salame.

And finally: Tamburini, on Via Caprarie. I would equate it to something like Katz’s Delicatessen in New York in terms of its legendary status — a sort of food temple and social hub. You’ll find students, professors, and tourists alike, standing with their trays at the counter, a glass of Lambrusco in hand, as they order lunch for that day, or pick up lasagna to go for dinner that night.

Bologna may be relatively humble compared to its cosmopolitan counterparts, but it is filled with heart, history, and, perhaps most famously, culinary delights. As the Confraternita del Tortellino’s own motto states: “In study, at the table, Bologna teaches.”

About the author:

Elizabeth McDowell lived in Bologna, Italy, for nearly ten years, earning her CELTA (Certificate in English Language Teaching to Adults) through the University of Cambridge, completed at International House Rome. A bilingual creative and translator, she began her career in Bologna, translating Italian literature and pedagogy. She also became involved in filmmaking and the short-film circuit, with her short films screened at various film festivals in Rome and Bologna. Her early work as a translator and collaborator on independent Italian documentaries led to screenings at both the New York International Independent Film Festival and the Rome Independent Film Festival in 2006 — a formative moment connecting her creative and linguistic worlds. As for Italian comforts back in Minnesota, she enjoys cooking her favorite Italian recipes and listening to De Andrè and Battiato, and watching Nanni Moretti, Fellini, and her Italian comfort film, "Dillo Con Parole Mie".

by Astrid Garino

"Andare in colonia" conjures up memories of youth for many generations of older Italians.   

The tradition builds on the practice of heliotherapy, a treatment known since the ancient Greeks and Romans, which utilizes the therapeutic effect of prolonged exposure to sunlight to treat illnesses such as osseous tuberculosis and vitamin D deficiency (rickets). 

By the early XX century, sunlight was thought to have antimicrobial activity, to increase the number of red and white blood cells, to improve diuresis, and to have a stimulating effect on the nervous system. The increased pigmentation of the skin triggered by exposure to the sun was also thought to increase the body's overall immune defenses (ref. Enciclopedia Italiana Treccani, 1932). 

In the mid-1800s, the medical community recognized the dire consequences of industrialization on the health of inner-city factory workers, particularly on children's health. In Italy, the idea of heliotherapy centers for children was introduced by a Florentine physician, Giuseppe Barellai (1813-1884), and the first centers were opened in the mid-1800s in both mountain and seaside resort areas. Heliotherapy camps offered children of working-class families the opportunity to spend several weeks during the summer in a healthier environment.

WWI worsened the already precarious health conditions of Italians, particularly those living in poor neighborhoods in industrial cities of the Center-North. By the early 1900s, Italy had several "Sea Bathing Infirmaries" for the treatment and convalescence of children affected by tuberculosis and rickets. 

Italian Fascism in the 1920s and '30s expanded and transformed heliotherapy camps into organized Youth Centers. These centers functioned as health and activity camps for children ages 6 to 16. They were places where children could live, learn and play in a healthy environment and receive three meals a day. In addition to receiving appropriate medical care and prevention therapies, the children were indoctrinated into the Fascist way of life.

The daily activities in the colonie were strictly regulated. They included early wake-up calls, followed by personal grooming, room cleaning, marches, flag-honoring sessions, political educational activities, meals, physical exercise, games and prayers. Central to the daily activities were the "treatments," which consisted of immersion in seawater, lying on a mat in the sun, or simply running around outdoors. Children would typically stay at the camp for a minimum of 30 days and participate in gender-specific activities. 

They were supervised by Signorine Vigilatrici, young women members of the Fascist party, who acted as educators, lifeguards and temporary mothers. Italian was the official language: this was done on purpose to teach children Italian, since many of them spoke a dialect at home. All children were provided with a uniform and a set of regular clothes.

As the popularity of the colonie estive grew, there was a need for larger buildings that could host hundreds of children at the same time; this gave rise to the construction of massive buildings designed by the best architects of the time, in the Futurist style. 

According to official sources, in 1935, there were more than 3,000 colonies primarily along the Adriatic, Tyrrhenian and Ligurian Coasts, as well as in the Alps. By 1939, over 800,000 children attended summer camps.

With the fall of Fascism and the economic crisis of the immediate post-WWII period, summer colonies reduced their activities, but in the 1950s and 1960s, they became popular again, lost their militaristic imprint and became recreational summer camps for children of lower-middle-class families. Big companies, such as Eni, Agip, Fiat and Olivetti sponsored stays for the children of their employees during the summer months.

The popularity of these camps declined again in the 1970s, as the income of working-class families increased and parents and children were able to vacation together.

Over the years, many of the grandiose Futurist-style buildings constructed in the 1930s to host summer colonies were abandoned. More recently, there has been a renewed interest in these beautiful buildings, and some have been repurposed into hotels, offices or wellness centers for adults and sports camps for youths.

About the author:

Astrid Garino is a longtime member of the ICC and currently serves as President of its Board of Directors. Born in Turin, she is a physician who earned her MD from the University of Turin and moved to the United States in 1992 to continue her training. She currently lives and works between St. Paul, MN and Turin, Italy. In her spare time, she enjoys reading, traveling, gardening, and spending time with family and friends.

by Gianluigi Veglia 

When the Camerlengo, the Cardinal responsible for finances and treasures, announced that a new Pope had been chosen, no one anticipated that the Conclave would elect a White Sox fan. Pope Leo XIV (Robert Francis Prevost) makes history as the first North American to  be elected as Peter’s successor, tasked with guiding the Catholic Church through these challenging times. Robert Prevost was born in Chicago to parents with French and Italian roots. He spent nearly twenty years in Peru as a missionary before making his way to the Eternal City.

In Rome, there’s a saying: “Morto un Papa, se ne fa un altro” (when a Pope dies, another one takes his place), signifying that everyone, even the Pope, can be replaced. However, finding someone to succeed Pope Francis in the hearts of Roman Catholics will be no easy feat. Francis embodied the spirit of the “il poverello di Assisi” (the little poor man of Assisi, St. Francis). He chose to reside in St. Martha, a simple guesthouse in the Vatican City away from the apartments painted by Raffaello Sanzio, maintaining direct contact with the Vatican’s staff and priests. His attire was humble, as he consciously rejected the paraments of his predecessors. 

Pope Francis (2013-2025), born Jorge Mario Bergoglio, was the first Jesuit to be elected to the papacy. His pastoral approach emphasizes missionary work, education, and a commitment to serving marginalized populations. As his father emigrated from Italy to Argentina in 1929, Pope Francis cultivated strong ties to Italy. Throughout his papacy, he demonstrated a marked dedication to social justice, exemplified by his initiatives to embrace individuals experiencing poverty and homelessness. Pope Francis extended the Church's pastoral care by welcoming divorced and remarried individuals to participate in Communion, a stance underscored by his famous declaration, “Who am I to judge?” He undertook substantial reforms aimed at enhancing the transparency and accountability of the Vatican's financial operations and implemented rigorous measures to address and combat the scandals that have plagued the Church, seeking to restore trust and integrity within the institution.

What will be the pastoral mission of Pope Leo XIV, and what challenges will he confront in his papacy? To understand this, it is essential to consider the rationale behind the selection of Robert Prevost as the successor to Leo XIII. 

Leo XIII (1878-1903) was renowned for his encyclical Rerum Novarum, a seminal document addressing social justice and labor conditions, and underscoring labor as a fundamental human right. This principle is echoed in the first three articles of the Italian Constitution, which reflect the integral role of social justice in contemporary society.

Pope Leo XIV, as an Augustinian brother, espouses the values of reconciliation and peace, emphasizing community life and obedience. In assuming the papacy, he faces formidable challenges, particularly in the context of a world plagued by over 50 ongoing armed conflicts. His inaugural address from St. Peter's Basilica, proclaiming "La Pace sia con voi" (Peace be with you), highlights the urgency of the global situation, which cannot be resolved swiftly. Moreover, Pope Leo XIV steps into a critical moment in U.S. history, characterized by deep societal divisions. The political landscape is increasingly polarized, with both radical factions of the Democratic and Republican parties holding sway. 

In this context, Pope Leo XIV has a unique opportunity to engage directly with the American people and their leaders. He is committed to positioning the Vatican as a worldwide mediator in global crisis. Fluent in English, Spanish, Italian, French, and Portuguese, he can communicate seamlessly with world leaders, minimizing the risk of misunderstandings. 

Additionally, Pope Leo XIV shares cultural and familial roots with Pope Bergoglio – both leaders can trace their ancestry to Piedmont, a region in northern Italy known for its strong traditional values and industrious spirit. Pope Leo XIV's grandfather was born in Ivrea, while Pope Francis's father came from Turin. The people of Piedmont take great pride in their heritage, which may shape Pope Leo XIV's papal mission and his efforts to address the pressing issues of our time.

About the author:

Gianluigi Veglia was born in Formia (Latina, Italy). He achieved a PhD in Chemistry at the University of Rome 'La Sapienza', and after a postdoctoral internship at the University of Pennsylvania, he joined the University of Minnesota. He is also one of the early members of ICC. He lives in Minneapolis with his wife Carolyn and three kids, Matteo, Elisa and Gianmarco. In his spare time he loves to cook, play tennis and spend time with his family.

by Gianluigi Veglia

“We left Suio on November 23, 1943. As the pressure from the Allied troops on the Gustav Line intensified, the Nazi army became increasingly hostile toward civilians. My family was scared and hungry. My father, Luigi, had been captured and incarcerated in Gaeta, awaiting deportation to Germany. My grandfather, Pietro, my mother, Peppinella, and four of her seven children (including me) jumped onto a truck heading toward Ferentino, where a train awaited us, the ‘sfollati’, heading north to Veneto. My other brothers fled to the mountains to evade capture by the Nazis.

My aunt Giulia and her two children, 2-month-old Pietro and 9-year-old Mimino, joined us on that journey. During the trip, my aunt and little Pietro became gravely ill due to the poor sanitary conditions on the train. They were admitted to a local hospital, where both sadly passed away, as we later learned. Mimino stayed with our family and became our new sibling. 

Our journey ended in Chiuppano, a small village near Vicenza, populated by farmers and artisans. I remember my grandfather, Pietro, touring the local farms every morning, begging for bread and cheese. He didn’t speak the northern dialect and struggled to communicate with the locals. I, however, picked up the language quickly and became his official interpreter. Thanks to my language skills, I met a local boy whose brother was a true partisan hiding in the mountains from the Fascists and Nazis. His mission was to ambush and attack Nazi battalions with grenades and disrupt their communications with other Nazi brigades. I don’t recall much from those endless months except for the piercing cold and constant hunger. We lived in two small rooms with about 20 people each, but we helped each other survive. 

I vividly remember that day, April 25, 1945, when we learned that the partisans and the Allies had joined forces against the Nazis and Fascists. My northern friend told me that his brother was finally coming back as the “dirty Nazis would be kicked out of Italy!” Shortly after, we were thrilled to learn that my father, Luigi, was safe. He had escaped from the prison in Gaeta and was back in Suio, waiting for us. In September 1945, we all boarded that train heading south, finally reuniting with my siblings and my father. I remember Suio being nothing but rubble, dust, debris, bombshells and spent machine gun ammunition. But we had each other and the hope to start anew.”

by Michele Guala

Novecento was born as a collaboration between Italian writer Alessandro Baricco and play director Gabriele Vacis. It is a monologue performed by Eugenio Allegri, a short book published by Feltrinelli, and then a movie directed by Giuseppe Tornatore, with Tim Roth and the beautiful music of Ennio Morricone. It is the story of a pianist born and living on the very same steamship as those navigating the Atlantic Ocean in the 20s and 30s, bringing Italian, Polish, and Irish immigrants to the United States; a steamship like the Titanic, the Rex beautifully imaged by Fellini in "Amarcord," or the Andrea Doria, built in Genova, where I was born, and decorated with oil paintings by my grand grandfather Camillo Marchi (1883–1966).