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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

An attempt to establish in what precisely subsisted the common attributes of the different forms would be quite another thing. Perhaps it was no more and no less than the creative afflatus of Nikolai Vassilevitch himself. But no, it would have been too singular and strange if he had been so much divided off from himself, so much averse to himself. Because whoever she was, Caracas was a disturbing presence and even – it is better to be quite clear – a hostile one. Yet neither Gogol nor I ever succeeded in formulating a remotely tenable hypothesis as to her true nature; when I say formulate, I mean in terms which would be at once rational and accessible to all. But I cannot pass over an extraordinary event which took place at this time.

Caracas fell ill of a shameful disease – or rather Gogol did – though he was not then having, nor had he ever had, any contact with other women. I will not even try to describe how this happened, or where the filthy complaint came from; all I know is that it happened. And that my great, unhappy friend would say to me: ‘So, Foma Paskalovitch, you see what lay at the heart of Caracas; it was the spirit of syphilis.’

Sometimes he would even blame himself in a quite absurd manner; he was always prone to self-accusation. This incident was a real catastrophe as far as the already obscure relationship between husband and wife, and the hostile feelings of Nikolai Vassilevitch himself, were concerned. He was compelled to undergo long-drawn-out and painful treatment – the treatment of those days – and the situation was aggravated by the fact that the disease in the woman did not seem to be easily curable. Gogol deluded himself for some time that, by blowing his wife up and down and furnishing her with the most widely divergent aspects, he could obtain a woman immune from the contagion, but he was forced to desist when no results were forthcoming.

I shall be brief, seeking not to tire my readers, and also because what I remember seems to become more and more confused. I shall therefore hasten to the tragic conclusion. As to this last, however, let there be no mistake. I must once again make it clear that I am very sure of my ground. I was an eyewitness. Would that I had not been!

The years went by. Nikolai Vassilevitch’s distaste for his wife became stronger, though his love for her did not show any signs of diminishing. Towards the end, aversion and attachment struggled so fiercely with each other in his heart that he became quite stricken, almost broken up. His restless eyes, which habitually assumed so many different expressions and sometimes spoke so sweetly to the heart of his interlocutor, now almost always shone with a fevered light, as if he were under the effect of a drug. The strangest impulses arose in him, accompanied by the most senseless fears. He spoke to me of Caracas more and more often, accusing her of unthinkable and amazing things. In these regions I could not follow him, since I had but a sketchy acquaintance with his wife, and hardly any intimacy – and above all since my sensibility was so limited compared with his. I shall accordingly restrict myself to reporting some of his accusations, without reference to my personal impressions.