Contents ( 92)
- Introduced, edited and with selected translations by Jhumpa Lahiri
- Contents
- About the Author
- A Note on the Citation of Titles and Their Translations
- Introduction
- Elio Vittorini
- Name and Tears
- Giovanni Verga
- Picturesque Lives
- Giuseppe Tomasi di Lampedusa
- The Siren
- Antonio Tabucchi
- Against Time
- Italo Svevo
- Generous Wine
- Leonardo Sciascia
- The Long Voyage
- Alberto Savinio
- Bago
- Umberto Saba
- The Hen
- Lalla Romano
- The Lady
- Fabrizia Ramondino
- The Tower
- Luigi Pirandello
- The Trap
- Cesare Pavese
- Wedding Trip
- Goffredo Parise
- Melancholy
- Aldo Palazzeschi
- Silence
- Anna Maria Ortese
- A Pair of Eyeglasses
- Alberto Moravia
- The Other Side of the Moon
- Elsa Morante
- The Ambitious Ones
- Giorgio Manganelli
- Sixteen, Twenty-one, Twenty-eight and Thirty-seven from Centuria
- Primo Levi
- Quaestio de Centauris
- Tommaso Landolfi
- Gogol’s Wife
- Natalia Ginzburg
- My Husband
- Carlo Emilio Gadda
- The Mother
- Ennio Flaiano
- A Martian in Rome
- Beppe Fenoglio
- The Smell of Death
- Luce D’eramo
- Life as a Couple
- Antonio Delfini
- The Milliner
- Grazia Deledda
- The Hind
- Alba De Céspedes
- Invitation to Dinner
- Silvio D’arzo
- Elegy for Signora Nodier
- Fausta Cialente
- Malpasso
- Carlo Cassola
- At the Station
- Cristina Campo
- The Golden Nut
- Italo Calvino
- Dialogue with a Tortoise
- Dino Buzzati
- And Yet They Are Knocking at Your Door
- Massimo Bontempelli
- The Miraculous Beach, or, Prize for Modesty
- Romano Bilenchi
- A Geographical Error
- Luciano Bianciardi
- The Streetwalker
- Anna Banti
- Miss
- Giovanni Arpino
- The Baboon
- Corrado Alvaro
- Barefoot
- Notes
- Chronology
- Further Reading
- Acknowledgements
- Copyright Information
- About the Translators
- THE BEGINNING
‘The ambition of the oyster!’ you may say. Exactly, and the only reason we find it absurd is that we were not born oysters ourselves.
But in any case, the tenacious clinging of those poor souls to the rock on to which fortune decreed they should fall, as it scattered princes here and duchesses there, their brave resignation to a life full of hardships, their religion of the family, reflected in their work, their homes and the walls that surround them, seem to me, for the time being at any rate, deeply serious and worthy of respect. It seems to me that the anxieties of our wandering thoughts would find sweet solace in the tranquil calm of those simple, uncomplicated feelings that are handed down, serene and unchanging, from one generation to the next. It seems to me that I could watch you passing by, to the sound of your horses’ trotting hooves and the merry jingling of their brasses, and greet you without a care in the world.
Perhaps because I have tried too hard to penetrate the whirlwind that surrounds and pursues you, I have now learned to understand the inevitable need for that solid, mutual affection among the weak, for the instinct of the underprivileged to cling to one another to survive the storms of their existence, and I have tried to unravel the humble, undiscovered drama that has dispersed to the four winds its plebeian actors whom we once got to know together. The drama of which I speak, which perhaps one day I shall unfold to you in its entirety, would seem to me to depend essentially on this: that whenever one of the underprivileged, being either weaker, or less cautious, or more selfish than the others, decided to break with his family out of a desire for the unknown, or an urge for a better life, or curiosity to know the world, then the world, like the voracious fish that it is, swallowed him up along with his nearest and dearest. From this point of view you will see that the drama is not without interest. The main concern of oysters must be to protect themselves from the snares of the lobster, or the knife of the diver that prises them from the rock.
‘Fantasticheria’
First published in the weekly magazine Il fanfulla della Domenica (14 March 1880), and, in the same year, in the collection Vita dei campi (Treves).