Staring Back at Me

Staring Back at Me by Tony Bianchi, published by Cinnamon Press in 2018, is an illustrated collection of short stories that traces the author’s journey from a childhood in an Italian-English family on Tyneside to his life as a Welsh-speaking freelance writer in Cardiff. This 180-page book presents a series of vignettes that, while each story stands alone, collectively form a playful and untrustworthy autobiography. The narrative invites readers to navigate the blurred lines between truth and fiction, as Bianchi’s confiding tone and rich geographical and historical details create an engaging yet unpredictable reading experience.
In this work, Bianchi introduces a diverse cast of characters, including his indulgent grandfather and a variety of eccentric individuals, each contributing to the tapestry of his life. The stories challenge assumptions about identity, time, and memory, as the author, portrayed as an anti-hero, leads readers through a series of bizarre and often humorous situations. With its unique blend of fiction and autobiographical elements, Staring Back at Me offers a thought-provoking exploration of personal narrative and the complexities of self-representation.
Official synopsis Publisher
Tracing life from a childhood in an Italian-English family on Tyneside to becoming a Welsh-speaking freelance writer in Cardiff, Eisteddfod-winning author Tony Bianchi leads the reader through a series of increasingly bizarre vignettes. Each section is a free-standing short story but read together they form a ludic, untrustworthy autobiography where the rug of humdrum normality is constantly pulled from under our feet. Lured into trusting belief by the narrator’s direct, confiding tone, by the sometimes overwhelming weight of circumstantial geographical and historical detail, and by the photos and documents that seem to guarantee authenticity, again and again the reader is suddenly left rudderless, unsure of the boundaries between truth and fiction. Did Bianchi ever play football in a Cardiff park with notorious Serbian war-lord Arkan? Is the floor of his local pub a concrete realisation of an M.C. Escher painting?
In England, Wales, and beyond, Bianchi introduces a series of extraordinary characters, from the devout, indulgence-collecting, organ-playing grandfather, to the plumber and Cumbrian nationalist Caedmon, or the piano-playing pharmacist with carpal tunnel syndrome. And whether at the centre of the narrative or reporting from the sidelines, there, constantly leading us on from one potentially disastrous situation to another, is the author as anti-hero, always earnestly self-deprecating, always reinventing himself, always challenging our assumptions about identity, time and memory.
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