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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

The Smell of Death

Translated by John Shepley

If you rub the fingers of one hand on the back of the other long and hard, and then smell your skin, what you smell is the smell of death.

Carlo had learned this as a child, maybe from his mother’s conversations with other women in the courtyard, or more likely in those gatherings of children on summer nights, in that interval that falls between the last game and the first job, where from slightly older companions one learns so many things about life in general and about the relations between men and women in particular.

He smelled a definite odour one evening in another summer, when he was already a man, and that it was precisely the smell of death was demonstrated by the facts.

That evening Carlo was waiting at the end of the street where the San Lazzaro Hospital stands and opposite the grade crossing just outside the railroad station. The last train for T. left, puffing its black smoke into the evening sky and giving off a fine odour of coal and steel under friction; from its windows came a yellow light, as soft and soothing as the light from the windows of one’s home. Eight-fifteen, he said to himself, as he excitedly watched the dispatcher turning the crank to raise the barrier.

Inside the house against whose corner he was leaning, a woman, who from her voice seemed to be his mother’s age, started singing a song of her youth:

Mamma mia, dammi cento lire,

Che in America voglio andare …

Mamma mia, gimme a hundred lire,

’Cause I wanna go to America …

It would be nice to be in America, he thought – especially in Hollywood. But not tonight, tonight I want to make love in my own country. And he stuck his fists in the pockets of his trousers.

Carlo was waiting for his eighteen-year-old girlfriend, to take her out towards the fields, and there is no need to dwell on his desire, nor on the way time went by on the illuminated face of the station clock. And still she didn’t come. But it should be said that her body represented Carlo’s only riches at this harsh moment in his life, and if she didn’t show up this evening he would have to live another whole week of tension and constraint to have her again.

Thus, even when her usual hour had passed, he was reluctant to discard all hope and go away, and remained standing there superstitiously, almost as though she could not fail to come if he held out long enough. But now it was eight-forty, and looking around he saw the old people sitting on benches in the public park, half obscured by the darkness, but those who were smoking were all pointing the red tips of their cigars at him. And that woman who had been singing before – she was surely the one who had been singing before – was now out on her balcony and for some time had been gazing down at the top of his head.