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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

Thirty-seven

The woman for whom he was waiting has not come to the appointment. He, all the same – the man attired more youthfully than suits him – does not feel offended. Indeed, it does not bother him at all. If he were more observant, he would have to admit to feeling a slight but indubitable pleasure. He can shape a number of hypotheses on the reasons why the woman has not appeared at their rendezvous. As he sounds out these reasons, he does not desert their meeting’s appointed place, but only steps off slightly to one side of it, as though it were a den in which some part of her, or the whole of her, sat concealed. Perhaps she has forgotten. Since he likes to think of himself as an insignificant person, he is pleased with such a hypothesis, which would mean that she too has identified him as exiguous, aleatory and thus of such a kind that forgetting him is the only way to remember him. She might have reached her decision in a moment of caprice – or perhaps of pique – since she is an impetuous woman; and in that case she will have recognized his function as a nuisance, as a minuscule bother, surely no longing of the heart, but something no longer removable from her life, or at least from a few of the days of it. She may have mistaken the hour of the appointment, and in that moment he realizes that he is not clear, he himself, as to what that hour may have been. But this realization does not disturb him: he finds it natural for the hour to be imprecise, since he sees himself as having a perpetual appointment with the woman who has not arrived. Or has there perhaps been an error of place? He smiles. Might that not mean that she has taken repair, gone into hiding in some secret place, and that her absence is therefore fear, flight or even a game, a summons? Or that the appointment was everywhere, so that neither one, in reality, could fail the other, for either the place or the time? So he might conclude that in fact the appointment has been not only respected, but obeyed with absolute precision, indeed has been interpreted, understood, consummated. His slight feeling of pleasure is beginning to transmute into an overture of joy. He decides, indeed, that the appointment has been so thoroughly experienced that now he has nothing higher or more total to give of himself. Brusquely, he turns his back on the meeting place and tenderly whispers ‘Adieu’ to the woman he is preparing to meet.

‘Sixteen’, ‘Twenty-one’, ‘Twenty-eight’ and ‘Thirty-seven’ from Centuria.

(Rizzoli, 1979).

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