Alfio Bonaccorso’s A Taormina (Giulio Perrone Editore, 2025) is a diptych: it begins with the curve of time and ends in the labyrinth of space. Taormina appears as a house full of rooms—each different from the other, secret and exhibited, poor and rich, luminous and dark. Halfway between a boudoir and a wunderkammer.
For Roger Peyrefitte, Oscar Wilde, D.H. Lawrence, Truman Capote, and John Steinbeck, Taormina was the “paradise of exiles,” a place to pursue a dream of happiness and to be part of an observatory from which to admire the world, being admired in return. This palingenesis opens to indolent sensuality, leaving traces in Ercole Patti, Massimo Simili, Vitaliano Brancati, and André Gide.
A place of desire, archetype, and stereotype, Taormina is a collaborative writing so absolute that it cannot separate view from vision, evocation from recollection, reality from representation—a vaporizing of dreams within sudden awakenings.
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