Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop
Between Memory and Landscape Set of books - Tipi bookshop

Between Memory and Landscape Set of books

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In this season’s collection from Witty Books, there is no overarching narrative to hold your hand, no explicit thread to tie these works neatly together. Yet, in their quiet complexity, each book whispers something essential about the way we live, remember, and interact with the world.

Take Land Loss, for instance—a reflection on erosion, not just of landscapes but of time and certainty. Or A Study on Waitressing, where the gestures of labor and performance are scrutinized to reveal hidden truths about identity and societal roles. Sfondi reimagines the background—not as a passive stage, but as a force that generates meaning. These are not stories with tidy conclusions, but works that leave gaps wide enough for you to fall into.

Then there is The Body is a Revelation as is Landscape, a dance between elements that never quite meet—a body and a rock, a thirst and a flood—caught in a moment of becoming. And La Teoria del Vuoto, where traces of a hidden underworld are unearthed in a quiet Italian suburb, asking us to consider the voids left in its wake. Il Giardino speaks in fragments, offering no solutions, just a simple, personal story about self-analysis and catharsis.

The Season and Acedia round out this offering: one moves between slowness and speed, memory and forgetting, while the other revels in laziness as a creative act, finding meaning in random moments that refuse to be tied down.

These books do not ask to be understood—they simply ask to be seen. They offer no tidy answers, no grand declarations, only glimpses of what lies beneath the surface of life. And perhaps that’s enough.

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