I conigli di Turaa

The publishing house that made this project possible is called iltritone: an imaginary, independent publishing house with no fixed address, somewhere between land and water.

The series to which this trilogy belongs is called Le Porte and consists of three short novels, three covers and three narrative movements.

It begins with a simple idea: a book is not only an object to be read, but a threshold to be crossed. The 11 × 18 centimetre format was chosen to accompany the reader naturally: small enough to travel with them, spacious enough to give the page the breathing room it needs.

The cover follows the same intention. The central illustrated strip is not simply decorative: at scale, it reproduces the proportions of a door. Each volume thus becomes a passage, with the everyday world on one side and the world of the story on the other. The image anticipates the atmosphere; the words open the way.

The graphic language is essential and recognisable, leaving room for the author’s voice and the artist’s gaze. A clean, almost silent form, designed to hold stories that often begin at the margins and find there the strength to become central.

The writing changes along the journey too. The first novel is deliberately the most resistant: it moves through repetitions, sensations, smells, silences and recurring images, almost like a dream blurred by fog. The reader, like Mezz’Orecchio, feels before understanding. In the second, the story becomes more linear; what was perception begins to become understanding and choice. In the third, the gaze opens out, gathers speed and becomes more choral.

For the reader too, then, the world seems to grow progressively sharper. The initial difficulty does not disappear by chance: it dissolves together with the protagonists’ awareness. First perceive, then understand, finally take part.

The three novels do not follow only the chronology of events, but a kind of chronology of consciousness. The first digs. The second walks. The third connects.