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Contents ( 92)
  1. Introduced, edited and with selected translations by Jhumpa Lahiri
  2. Contents
  3. About the Author
  4. A Note on the Citation of Titles and Their Translations
  5. Introduction
  6. Elio Vittorini
  7. Name and Tears
  8. Giovanni Verga
  9. Picturesque Lives
  10. Giuseppe Tomasi di Lampedusa
  11. The Siren
  12. Antonio Tabucchi
  13. Against Time
  14. Italo Svevo
  15. Generous Wine
  16. Leonardo Sciascia
  17. The Long Voyage
  18. Alberto Savinio
  19. Bago
  20. Umberto Saba
  21. The Hen
  22. Lalla Romano
  23. The Lady
  24. Fabrizia Ramondino
  25. The Tower
  26. Luigi Pirandello
  27. The Trap
  28. Cesare Pavese
  29. Wedding Trip
  30. Goffredo Parise
  31. Melancholy
  32. Aldo Palazzeschi
  33. Silence
  34. Anna Maria Ortese
  35. A Pair of Eyeglasses
  36. Alberto Moravia
  37. The Other Side of the Moon
  38. Elsa Morante
  39. The Ambitious Ones
  40. Giorgio Manganelli
  41. Sixteen, Twenty-one, Twenty-eight and Thirty-seven from Centuria
  42. Primo Levi
  43. Quaestio de Centauris
  44. Tommaso Landolfi
  45. Gogol’s Wife
  46. Natalia Ginzburg
  47. My Husband
  48. Carlo Emilio Gadda
  49. The Mother
  50. Ennio Flaiano
  51. A Martian in Rome
  52. Beppe Fenoglio
  53. The Smell of Death
  54. Luce D’eramo
  55. Life as a Couple
  56. Antonio Delfini
  57. The Milliner
  58. Grazia Deledda
  59. The Hind
  60. Alba De Céspedes
  61. Invitation to Dinner
  62. Silvio D’arzo
  63. Elegy for Signora Nodier
  64. Fausta Cialente
  65. Malpasso
  66. Carlo Cassola
  67. At the Station
  68. Cristina Campo
  69. The Golden Nut
  70. Italo Calvino
  71. Dialogue with a Tortoise
  72. Dino Buzzati
  73. And Yet They Are Knocking at Your Door
  74. Massimo Bontempelli
  75. The Miraculous Beach, or, Prize for Modesty
  76. Romano Bilenchi
  77. A Geographical Error
  78. Luciano Bianciardi
  79. The Streetwalker
  80. Anna Banti
  81. Miss
  82. Giovanni Arpino
  83. The Baboon
  84. Corrado Alvaro
  85. Barefoot
  86. Notes
  87. Chronology
  88. Further Reading
  89. Acknowledgements
  90. Copyright Information
  91. About the Translators
  92. THE BEGINNING

For her master, on the other hand, that absolute dedication represented indispensable control over the only person in the world that he needed.

Leonia too had been a beauty in her day: age had given her a matronly air, and silence had had no effect other than to fill her out, to make her look solemn and somewhat mysterious. And so it was that the two silent ones enjoyed excellent health, and appeared to be thriving and satisfied with their lot.

The concierge of their building would limit himself to remarking that each of the occupants of apartment number seven was no less cracked than the other. The one who couldn’t seem to get over their behaviour was his wife, poor thing: never in a thousand years could she have been persuaded that a phenomenon such as this was acceptable. ‘The Lord gave us the gift of speech,’ she would always repeat: ‘Why refuse it?’ She was speaking as one who honoured this divine gift to the full. And the other residents, on encountering the silent ones, would turn their heads and scrutinize them from head to foot, in an eloquent mutism of their own.

There had been certain panic-inducing occurrences in the apartment building: a small fire that had been brought quickly under control, a theft, or rather two; gas leaks, and a flood caused by a burst water pipe – together with instances of more serious, collective panic. It had been impossible by any means to gain access to that apartment, or in any way to persuade its residents to come out of it. In addition to the standard lock, Benedetto Vai’s door was reinforced by another with twelve pins, a chain and three enormous bolts – and further defended by two buttresses that made it as solid as the wall in which it was set.

There was something heroic as well as ascetic in this bizarre hermeticism.

If we were to trace back to his birth all that a man’s character has become, we would have in Benedetto Vai’s case to say immediately that he was an excessively tranquil and smiling child. And we have a more telling clue: he was inclined, from infancy, to substitute words with a smile: a smile that with age had become extinguished from his lips, but which had seemed so sweet and gentle as to signify to others an eloquent contentment, and to provide its wearer with an infallible means of isolating himself.

In the vastness and depths of life one is sometimes compelled to follow a strange turning, as when a masterpiece is revealed and shaped.

He tended not to speak with his father, but rather more with his mother, whose only son was the source of all of her joy and happiness. ‘My darling Betto,’ she would say, with infinite tenderness: ‘my golden-haired Bettino, my golden boy’.

At school his taciturn character had become more pronounced. He would often resort to a companion to distance himself from and ward off the others en masse, at the same time maintaining extremely cold relations with him, and a sense of mystery to his own smiling appearance, so as not to prompt or encourage any of that spontaneous intimacy or friendship which in the ardour of youth often wells up and escapes unchecked. In the end he managed to alienate every single one of them.