Aldo Palazzeschi, in Stampe dellāOttocento (1932; āNineteenth-Century Engravingsā) and Sorelle Materassi (1934; The Sisters Materassi), reached the height of his storytelling powers. Meanwhile, the Florentine literary reviews Solaria, Frontespizio, and Letteratura, while having to tread carefully with the authorities, provided an
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