The Turin Book Fair is approaching the end of its 36th edition. The first with the journalist and writer Annalena Benini as editorial director, taking up the legacy of the writer Nicola Lagioia, who accompanied the Turin cultural event even during the pandemic period.
Benini’s was a bigger show than in previous years, and also “feminist”, as the director herself defined it. “I don’t see how it could be otherwise. There is no other way, other than being in the world, of creating culture, if not feminist”, explains Benini to The Hollywood Reporter Rome. “The salon is feminist because it puts women at the center, and their bumpy but luminous path over the centuries”.
“We have told, celebrated and investigated the great women of the present and the past”, adds the director. “I think we feel that it is a feminist exhibition, there is no need to put a stamp. It emerges from the program.”
Benini, author of Annalena (Einaudi) and signature of Sheet, says she is satisfied and happy with how this edition went. “I witnessed high quality matches. It was my desire to bring the stories, people and books together in a recognizable way,” she says to THR Rome, thanking the guests and the Salon team. “I sensed a great desire to listen, which means participating. Our attitude of plurality is natural. So we need to give a voice to people in the world of culture.”
In the interview with THR Romethe editorial director of the Turin Book Fair Annalena Benini spoke about her feminist turn, the pro-Palestine demonstrations in front of the entrance to the fair and the future prospects of the Turin event dedicated to culture.
The director of the Book Fair Annalena Benini
What events represent this turning point? Wasn’t the Salon feminist before?
I think it always has been. Now I also put my personality into it, with all those things that I care about and that I finally have the chance to show and let people see. Such as bringing together many women. I am now leaving the meeting with Elena Cecchettin, where many boys and girls prepared questions for her. It was an important meeting, and we spoke with great sense and without pretentiousness about what can be done to make this world a little better than this. But mental health was also discussed, there were many meetings on the topic and on the fragility of younger people with important psychotherapists. I think of Matteo Lancini and Massimo Ammanniti, among others. It’s all aimed at younger people. And I think it can also be seen by the public at the Salon, I saw many boys and girls.
On Saturday 11 April there were demonstrations in front of the gates. Protesters called for a stand on the ongoing conflict in Gaza.
As I always say: the Show tries to give everyone a say. Even during the protest we tried to encourage dialogue by bringing in a delegation. And inside the Salon there was obviously talk about the conflict in the Middle East. We had a meeting entitled The war is told in the present, with great journalists and war correspondents such as Annalisa Camilli, Cecilia Sala, Francesca Mannocchi, coordinated by Paola Peduzzi. They told the conflicts from their point of view. The Salon gave the floor to those who saw and put themselves in the uncomfortable position of trying to understand.
This year the Show is bigger than last year. What is the outlook for the future?
I would like it to be more and more usable, even at times of great turnout. I would like everyone to be able to have their own piece of the Salone: I’m thinking of the signatures or the people who couldn’t get into the rooms. For safety reasons you cannot go beyond a certain number. My hope is that we can always breathe this somewhat joyful atmosphere. What I see are visitors attracted by the desire to belong to a cultural community. And it seems to me to be a beautiful sign, for culture, for books and for the world.
How does the Book Fair fit into the Italian political and cultural panorama? What is the goal?
The Book Fair stands above the small political debate. He doesn’t fit in, he flies higher. Just as the electoral campaign is not inside the Salone. He has the opportunity to look at politics and the present, and to interpret it. But politics does not enter the Salon with pressure. It is totally free work, and there is no other way of working that is not free.
