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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

Meanwhile, from the convent, Concetta was attempting to pay court, so to speak, to her mother. She would frequently send her gifts, such as sweet pizzas, topped with confectionery, that her mother refused to taste and passed on to us; or strips of white silk on which a red heart pierced by an arrow had been embroidered. These bits of embroidery transported to the house a redolence of the domesticity and piety of a monastic enclosure, and the mother would throw them into a corner with a gesture of ironic contempt. At Easter a cardboard box arrived, containing a figurine of a nun made of sweet pastry, more than forty centimetres tall, wearing a habit made of chocolate. It was the product of a collective effort by the whole convent, and they had not failed to include such realistic details as the thin rope around her waist from which a minuscule cross was hanging, done in red sweets. At the sight of this nun the mother was overcome with sheer, cold fury, and ordered that it should be thrown into the fire. Her other two daughters obeyed, though not without a pang of regret.

In the evening, behind the grates of the convent, Concetta would hold a cross in her hands and look at the star-studded sky. She would fantasize that the stars were the lit windows of her future abode, trying to imagine which one of them belonged to her future spouse’s room. Concetta had reached the age of twenty-three. And it was at this time that she fell ill with typhus and died.

The sisters rushed to inform me breathlessly that Concetta was in her final agony, and to beg me to persuade her mother to visit her at least this one last time. I ran to the widow’s home, but quickly realized that Angela had already made up her mind to go, and that she only pretended to need to be begged to do so. With pupils sparkling, and two vermilion stains on her cheeks, she walked ahead of me towards the convent, and without even stopping to acknowledge the nun who acted as doorkeeper, swept upstairs to her daughter’s cell with the proprietorial air of a mistress. To the murmuring nuns who came to her side it seemed that she was saying, ‘Out of my way, she’s my daughter and mine alone; I’m the only one with any right to cry for her.’ She approached the bed, and in the theatrical, passionate manner that my female compatriots assume when afflicted, she exclaimed: ‘Ah, my little Concetta, my own Concetta!’, and kneeling down by the side of the bed she grasped her daughter’s hands and showered them with a flurry of kisses.