It is a pity not to live to see the fruits of one’s labor. Many people have passed away quietly, living in the shadows, and we have only had the chance to learn about them

after their deaths. Carlo Collodi was one of those who captured the imaginations of children in nearly every corner of the world. He led an

ordinary, routine life, and no one paid him much attention until after he died.

That, in fact, is not what makes his story remarkable; there are too many overlooked talents to count. What is truly surprising, though, is that

the man’s life was entirely ordinary, yet his writing was full of adventure, excitement, and suspense. It is true that a person’s writing is a reflection

As Friedrich Nietzsche often insisted, this applies to one’s personal life too. But it is also true that one can turn to creating worlds that appeal to them

through the pen. If reality is unattainable, why not turn to imagination?!

Carlo Collodi was _practically_ faced with two dilemmas. First, he had to create imaginary worlds with no connection to his own personal reality

or life, even though his writing had a clear didactic, advisory bent, as was customary among writers of that

time. And it is well known that writing about reality—_a condition for understanding it_—is much easier than journeying through worlds of the imaginary and the nonexistent.

The second dilemma facing this author, who lived in the shadows, was that he was addressing children, who are very easy to

Writing for adults is one thing, but writing for children is another: you can’t address them through your writing until you understand their imagined worlds

and the hidden dimensions of those worlds—and, as we know, that is no easy task. Artificial profundity and the use of grand words are easy, but simplifying

and delving into a child’s mind and personal world is extremely difficult.

On the anniversary of Carlo Collodi’s death (October 26, 1890), we look at some milestones in his life, as follows.

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- Carlo Lorenzini was born on November 24, 1828, in the Grand Duchy of Tuscany. He was known by the pen name “Carlo Collodi.”

- He spent most of his childhood in the town of Collodi, where his mother was born. She was the daughter of a farmer, while his father was a chef. He had

He had 10 siblings, but seven of them died at an early age.

Carlo Collodi gained extensive knowledge through self-education and became a journalist, a soldier, and a low-ranking government official.

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He began his writing career by publishing reviews in various magazines, including L’Italia Musicale.

He founded the satirical newspaper Il Lampione, then worked as a playwright and short-story writer.

He wrote stories, journalistic sketches, and comic scenes, which were collected in Sketches (1880), Eyes and Noses (1881),

and Happy Stories (1887).

During the Italian Wars of Independence in 1848 and 1860, Carlo Collodi served as a volunteer in the Tuscan army. His

active interest in politics can be seen in his early literary works, as well as in his founding of the satirical newspaper Il Lampione in

1853, which was banned by order of the Grand Duke of Tuscany. In 1854, he launched his second newspaper, Lo Scaramuccia (“The Controversy”).

He became deeply involved with other political newspapers, such as Il Fanfulla, while also working for the censorship committee.

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During this period, he wrote several satirical works, including Macchiette, Occhi e nasi, and Storielegr.

In 1875, he entered the field of children’s literature with Racconti delle fate, a translation of French fairy tales by Perrault.

In 1876, Carlo Collodi wrote *Giannettino* (a work inspired by Alessandro Luigi Paravisin’s *Giannetto*), *Minuzzolo*,

and *Il viaggio per l’Italia di Giannettino*, an educational series that sought to reunify Italy through the satirical ideas and actions

of the character Giannettino.

His translation from French, *The Fairy Tales of Charles Perrault*, appeared in 1876.

Carlo Collodi became fascinated by the idea of using an appealing character and tone to express his beliefs through an allegorical story. In

1880, he began writing *Storia di un burattino* (*The Story of a Puppet*), also known as *Le avventure di Pinocchio*,

It was published weekly in Il Giornale per i Bambini, Italy’s first children’s newspaper.

Pinocchio was adapted into a 1940 film by Disney, considered one of the greatest Disney films.

The story follows a puppet who comes to life—a mischievous, lazy boy who begins to work and becomes a real person by the end of the story.

Scholars have found complex symbolism, classical references, and links to traditional folklore in the work, ranging from religious parallels to political symbolism,

social morality, and psychological themes.

The tale stands out for its universality, its blend of fantasy and humor, its lively pace, its ethereal charm, and its portrayal of

Honest about children’s fears.

-Lorenzi died in Florence in 1890, unaware of the fame and popularity that awaited his work. He was buried in

San Miniato al Monte Basilica