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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

In the newspaper offices the following day I searched through that peculiar drawer of the obituary file containing the ‘advancers.’ The ‘La Ciura’ card was there, for once tolerably well drafted. I read how the great man had been born into an impoverished petit bourgeois family in Aci Castello (Catania), and that thanks to an astonishing aptitude for Ancient Greek, and by dint of scholarships and scholarly publications, he had at the age of twenty-seven attained the chair of Greek literature at the University of Pavia. Subsequently he had moved to the University of Turin, where he remained until retirement. He had taught at Oxford and Tübingen and travelled extensively, for not only had he been a senator since before the Fascists came to power and a member of the Lincean Academy; he had also received honorary degrees from Yale, Harvard, New Delhi and Tokyo, as well as, of course, from the most prestigious European universities from Uppsala to Salamanca. His lengthy list of publications included many that were considered fundamental, especially those on Ionic dialects; suffice to say that he had been commissioned to edit the Hesiod volume in the Bibliotheca Teubneriana, the first foreigner so honoured, to which he had added an introduction in Latin of unsurpassed scientific rigour and profundity. Finally, the greatest honour of all, he was not a member of the Fascist Royal Academy of Italy. What had always set him apart from other exceedingly erudite colleagues was a vital, almost carnal sense of classical antiquity, a quality on display in a collection of essays written in Italian, Men and Gods, which had been recognized as a work not only of great erudition but of authentic poetry. He was, in short, ‘an honour to a nation and a beacon to the world,’ as the card concluded. He was seventy-five years old and lived decorously but far from lavishly on his pension and senator’s benefits. He was a bachelor.

There’s no use denying that we Italians – original sons (or fathers) of the Renaissance – look on the Great Humanist as superior to all other human beings. The possibility of finding myself in daily proximity to the highest representative of such subtle, almost magical, and poorly remunerated wisdom was both flattering and disturbing. I experienced the same sensations that a young American would on meeting Mr Gillette: fear, respect, a certain not ignoble envy.

That evening I descended into Limbo in quite a different spirit than that of the previous days. The senator was already at his spot and responded to my reverential greeting with a faint grumble. When, however, he’d finished reading an article and jotted down a few things in a small notebook, he turned toward me and, in a strangely musical voice, said, ‘Fellow countryman, from the manner in which you greeted me I gather that one of these phantoms has told you who I am. Forget it, and, if you haven’t already done so, forget the aorist tense you studied in secondary school. Instead tell me your name, because your introduction yesterday evening was the usual mumbled mess and I, unlike you, do not have the option of learning who you are from others. Because it’s clear that no one here knows you.’