She went on to study Ethics at university, getting her degree in 1995 with a thesis on Jean Améry, at the same time working as a journalist for l'Unità and as an educationalist; she also took part as a volunteer in the humanitarian mission at the refugee camp of Klana.

Published in an artisan printing house,[12] and furnished with a bookmark, the volume is presented in the style of a real diary: the pages are "in natural paper made of cotton fibres” and the binding is held together with elastic.

Similarly, elements common to literary works of feminine Surrealism are the artists’ book,[15] interdisciplinary features,[16] the use of fairy-tales[17] populated by magical creatures[18] and cats regarded as alter egos,[19] the attention given to nature[20] and recourse to the imagination and writing in order to combat negativity and racial prejudice.

[23] Achille il puntino, also published in Spain and included in a catalogue entitled Born to Read,[24] provides young readers with tools for discovering new worlds through speaking, literature and writing.

Risari makes reference, above all, to the critical approach of the Frankfurt School and the analyses carried out by Zygmunt Bauman on the relationship between modernity and the Holocaust, on the basis of which the characteristics of recent times (order, homogeneity and function) have aggravated the ancient prejudice against the Jews, always regarded as the “other”, “different”, to be isolated and destroyed.

[32] The emphasis of Bassani, in fact, is on the need to preserve the memory of an event, the Holocaust, which has stained a part of humanity, and not on the commiseration of the victims nor the cruelty of the tormentors: in other words, what counts is the right to exist of every living being.

[33] In The document within the walls, written in English, Guia Risari probes Bassani’s narrative with accuracy, even verifying the number of those who died on the Lapide di via Mazzini,[34] and utilizing an interpretive model that puts to good use the means of both literary and social criticism.

[37] The resentment of the survivors of the concentration camps is indicated as the only way to emend history, without forgetting or pardoning it, and is reassessed in the wake of Adorno and Horkheimer; i.e. it is freed from being a pathological or unsound reaction.