Narrator, essayist, painter and Italian anti-fascist activist, born in Turin in 1902 and died in Rome in 1975. Although his first vocational steps oriented their education towards the field of science, when he was in College of medicine in his hometown began to cultivate the artistic creation, to be soon known as a painter and live for a few years the paint as principal professional activity. At the same time, Carlo Levi was acquiring a vigorous political conscience that led him to take part in the so-called liberal revolution, as well as to express publicly, between 1935 and 1936, contrary to the fascism ideas. This brought about a severe trial that culminated in his conviction to the penalty of exile in Lucania, where the Turin artist began to cultivate regular literary creation. Fruit of this effort was his famous work entitled Christ if e fermato a Eboli (Christ stopped at Eboli, 1945), debut, presented as a lyrical Chronicle of his political misadventure, it made him one of the most widely read authors in the country, while enshrining him as one of the most outstanding figures in the Italian anti-fascist thought.
Encouraged by this success, a year later it gave to printing an essay entitled Paura della Libertà (fear of freedom, 1946), in which studying in the recent history of the Italian people and their dangerous fascination by the totalitarian movements. Later, he added his literary production with several books located half-way between the historic trial and the fictional Chronicle, as the graduates l'orologio (the clock, 1950), Le parole sono pietre (words are stones, 1955), Il futuro has a cuore antico (the future has an ancient heart, 1956), La doppia notte dei tigli (double night of lime trees, 1959) and Tutto il miele finite e (all honey is has complete)1964).
In General, the written work of Carlo Levi boasts a keen fondness for the natural life forms, always - linked in the temporary flat-to the longing of remote times and - on the space side - to the exaltation of the peasant civilization, mythologized in his books up to the end of becoming a symbolic domain capable of confronting urban areas supported by the small fascist and reactionary bourgeoisie. And above these substantial thematic components, cobra flight at all times a powerful creative breath able to assimilate, in a same stylistic slope, the realistic description of rural areas and the lyrical - occasionally, fully Baroque - dreams of the Turin writer.