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This article analyzes Cristina Trivulzio Belgiojoso's literary turning-point by considering "Souvenirs dans l'exil" (1850) as the transitional book representing a fundamental shift in the author's writing process. Actually, this book, which is culled from a collection of letters that the writer sent while in exile to her French friend, Caroline Jaubert, reveals a hybrid writing characterized by a contamination of genres within the formal frame of private letters. In light of this internal architecture, "Souvenirs dans l'exil" can be read as the laboratory-book that manifestly shows to the reader her work-in-progress towards narrative writing. As a result of the analysis of the structure of the book, it becomes evident that, for the writer, the act of narrating itself is subjected to the colloquy with an absent reader who, before being identified with an impersonal readership, should be recognized in the addressees of her private letters. In essence, it is through her epistolary writing that the author becomes accustomed to narrating to someone who, finally, becomes the public readership. This passage from the private dimension of the letter to the public one of the narrative book, which begins with the Oriental exile, is simultaneous to the Eastern re-location of the writer and her narration of the Orient, which plays a relevant part in the literary writing of Cristina Trivulzio. Even though the financial constraints of the exile and the forced distance from political activism likely facilitated the process of the literary writing tout court, it is her encounter with the 'monde nouveau' of the Orient, here analyzed through her first impressions in "Souvenirs dans l'exil", that is most influential. Finally, the newness of this Oriental world, which the writer investigates autonomously and partially beyond the Orientalist canon, brings her to adopt a new expressive register, together with a fresh awareness of her own identity as author. ; This article analyzes Cristina Trivulzio Belgiojoso's literary turning-point by considering "Souvenirs dans l'exil" (1850) as the transitional book representing a fundamental shift in the author's writing process. Actually, this book, which is culled from a collection of letters that the writer sent while in exile to her French friend, Caroline Jaubert, reveals a hybrid writing characterized by a contamination of genres within the formal frame of private letters. In light of this internal architecture, "Souvenirs dans l'exil" can be read as the laboratory-book that manifestly shows to the reader her work-in-progress towards narrative writing. As a result of the analysis of the structure of the book, it becomes evident that, for the writer, the act of narrating itself is subjected to the colloquy with an absent reader who, before being identified with an impersonal readership, should be recognized in the addressees of her private letters. In essence, it is through her epistolary writing that the author becomes accustomed to narrating to someone who, finally, becomes the public readership. This passage from the private dimension of the letter to the public one of the narrative book, which begins with the Oriental exile, is simultaneous to the Eastern re-location of the writer and her narration of the Orient, which plays a relevant part in the literary writing of Cristina Trivulzio. Even though the financial constraints of the exile and the forced distance from political activism likely facilitated the process of the literary writing tout court, it is her encounter with the 'monde nouveau' of the Orient, here analyzed through her first impressions in "Souvenirs dans l'exil", that is most influential. Finally, the newness of this Oriental world, which the writer investigates autonomously and partially beyond the Orientalist canon, brings her to adopt a new expressive register, together with a fresh awareness of her own identity as author. ; This article analyzes Cristina Trivulzio Belgiojoso's literary turning-point by considering "Souvenirs dans l'exil" (1850) as the transitional book representing a fundamental shift in the author's writing process. Actually, this book, which is culled from a collection of letters that the writer sent while in exile to her French friend, Caroline Jaubert, reveals a hybrid writing characterized by a contamination of genres within the formal frame of private letters. In light of this internal architecture, "Souvenirs dans l'exil" can be read as the laboratory-book that manifestly shows to the reader her work-in-progress towards narrative writing. As a result of the analysis of the structure of the book, it becomes evident that, for the writer, the act of narrating itself is subjected to the colloquy with an absent reader who, before being identified with an impersonal readership, should be recognized in the addressees of her private letters. In essence, it is through her epistolary writing that the author becomes accustomed to narrating to someone who, finally, becomes the public readership. This passage from the private dimension of the letter to the public one of the narrative book, which begins with the Oriental exile, is simultaneous to the Eastern re-location of the writer and her narration of the Orient, which plays a relevant part in the literary writing of Cristina Trivulzio. Even though the financial constraints of the exile and the forced distance from political activism likely facilitated the process of the literary writing tout court, it is her encounter with the 'monde nouveau' of the Orient, here analyzed through her first impressions in "Souvenirs dans l'exil", that is most influential. Finally, the newness of this Oriental world, which the writer investigates autonomously and partially beyond the Orientalist canon, brings her to adopt a new expressive register, together with a fresh awareness of her own identity as author. ; L'articolo analizza la svolta letteraria di Cristina Trivulzio Belgiojoso individuando nei "Souvenirs dans l'exil" (1850) il testo di transito che documenta una tappa fondamentale nell'evoluzione della scrittura dell'autrice. L'opera, che nasce come una raccolta di lettere inviate dall'esilio all'amica francese Caroline Jaubert, esibisce una scrittura ibrida, contrassegnata da una commistione di generi sapientemente organizzati all'interno della cornice formale della lettera privata, e si configura come un vero e proprio testo-laboratorio che presenta manifestamente al lettore il processo 'in fieri' di avvicinamento alla scrittura narrativa. L'analisi della costruzione del libro dei "Souvenirs" mette in evidenza come per la scrittrice l'atto della narrazione sia intimamente vincolato al colloquio con un lettore assente che, prima di identificarsi con la figura impersonale del pubblico, deve essere individuato nei destinatari di elezione delle lettere private attraverso le quali l'autrice matura un'abitudine alla narrazione che solo in un secondo tempo aspira a una dimensione pubblica. Il passaggio dalla dimensione privata della lettera a quella pubblica del testo narrativo, che avviene solo all'altezza dell'esilio orientale, è concomitante con lo spostamento a est della location della scrittrice e con la narrazione dell'Oriente, alla quale la scrittura letteraria di Cristina Trivulzio è indiscutibilmente legata. Sebbene la forzata lontananza dalla scena politica e le difficoltà finanziarie correlate all'esperienza dell'esilio abbiano favorito l'adozione di una scrittura letteraria 'tout court', l'incontro con il 'monde nouveau' dell'Oriente, del quale vengono qui analizzate le prime impressioni riportate nei "Souvenirs", risulta determinante. La novità rappresentata dal mondo orientale, che la scrittrice indaga in maniera autonoma, evadendo in parte il canone orientalista, si traduce infatti sul piano della scrittura nell'assunzione di un inedito registro espressivo unitamente a una diversa consapevolezza della propria identità di autrice.