In the 1980s and 1990s, Serie A was known as 'Il campionato più bello del mondo' – the most beautiful championship in the world – and had the highest match attendances in Europe. The stadiums were not only full of people, but full of colour, flags, songs and rituals. Italy hosted World Cup 1990 and the stadia and stars on show in Serie A became iconic. Across a ten year period from 1989 to 1999 a remarkable 10 different Serie A clubs occupied nearly half the places in the finals of the Champions League and Europa Cup. They were dominant. But then in the 2000s they began to fall behind and despite the Azzurri winning the World Cup in 2006 and Inter Milan winning the Champions League in 2010, Italian football was on a downwards trajectory that saw the national team fail to qualify for the 2018 World Cup, their first absence from the tournament since 1958. What happened and why? In this extraordinary book, Steven G. Mandis investigates. Given unprecedented behind-the-scenes access to Italian clubs and key decision makers and players, Mandis is the first outside researcher to rigorously analyse both the on-the-pitch and business aspects of a club and league. What he learns is completely unexpected and challenges popular explanations and conventional wisdom.
An important read for those passionate about not only U.S. Soccer but fascinated by player development. This in-depth look uses unprecedented access and original data and analysis for the U.S. and other countries. Prior to the 2002 FIFA World Cup, the U.S. Men's National Soccer Team had won just four World Cup matches in 72 years. While the American women's team has made World Cup victories a regular expectation, the men failed to even qualify for the 2018 tournament. In What Happened to the USMNT Columbia Business School adjunct professor and acclaimed author of The Real Madrid Way Steven Mandis turns his lens inward to examine what it will take for the U.S. men to achieve lasting success on the international stage. This meticulously researched, probing investigation challenges conventional wisdom and speaks to the importance of familiarity and authenticity to cultivate an organizational identity. If the Italians have their cantenaccio, the Spanish their tiki-taka, the Dutch their "total football," and the Brazilians their ginga, Mandis argues that cultivating a unique "American way" of soccer (coined the "Spirit of 1776") is not only possible but absolutely essential. Finally, a source of reference that goes beyond recounting history without context or repeating opinions without facts or analysis.
The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival
The first history of Italian football to be written in English, ‘Calcio’ is a mix of serious analysis and comic storytelling, with vivid descriptions of games, goals, dives, missed penalties, riots and scandals in the richest and toughest league in the world.
Through 1996 and 1997 bestselling author Joe McGinniss followed the Italian football season from Castel di Sangro, a small town nestled in the Abruzzi region of Italy. The motley crew that comprised the di Sangro soccer team in the early 90s masked an unparalleled prowess for playing soccer. This is the story of a team and a town with no aspirations, just a passion for the game, and how that passion allowed this team to rise to the top of the professional Italian soccer league. With the lust for life of Robert Crichton's THE SECRET OF SANTA VITTORIA and the sporting dreams of modern movie classic FIELDS OF DREAMS, THE MIRACLE OF CASTEL DI SANGRO is an ebullient story of how a two-hour game transformed a dot on the map into a place of magic, miracles and wonder.
Twenty-three long years, 276 tortous months, 1,196 despairing weeks – it's a long time in the wilderness . . . After a string of household names failed to deliver, the Tartan Army's foot soliders finally found a leader who could turn their fortunes round. On his appointment in 2019, former Chelsea stalwart Steve Clarke faced an enormous challenge – but under him nothing feels beyond Scotland's grasp. With the experience of Euro 2020 under his belt and time spent moulding a team capable of going toe to toe with the world's finest, Euro 2024 represents another major milestone. This book looks behind the scenes of Scotland's remarkable rise and tells the story of the man who has led the revival and how he has transformed the squad. Former teammates and coaching colleagues lend their voices alongside an all-star cast of past and present Hampden favourites in a tale of triumph and hope.
Jones recounts his four-year voyage across the Italian peninsula where, instead of the pastoral bliss he expected, he discovers unfathomable terrorism and deep-seated paranoia.
