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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 soldier stood there looking around, bewildered. He knew nothing: only that, thanks to an old dog he’d never seen before, handed over to him by another soldier, he’d had to take a huge detour; that he was tired, it was raining and his feet were wet. He found the whole thing exceedingly strange.

He found it even stranger when the young maid returned more than a half-hour later to tell him that her mistress thanked him profusely, found his gesture in bringing back the dog splendid, but on that evening couldn’t possibly receive him – ‘in no way could receive him’ – and accompanied him back to the gate.

‘Giovanna,’ she said on her return, ‘I’m taking the dog over to the farmhouse.’

‘In this weather?’ the old woman said, startled. ‘Can’t he sleep next to the fire? And what if ‘she’ wants to see him? Is she supposed to go over there?’

‘No, not in the house. Not here,’ the young maid said, standing with the dog at the open door. Outside you could still see snow and rain, and a row of dripping hedges. She looked for something to put over her head, but found nothing better than an old newspaper, which she took, and left. From the top step she turned once more to the old woman. ‘Be ready,’ she said. ‘She’ll call you to give you a note.’

But no note came from Signora Nodier the whole of the next day. Nor the day after. She stayed in her room, and the only time she came down was to ask the gardener something. But on the third day the note was on the table, addressed to Quintilio, the oldest of the peasants on her land.

I had access to it only many years later.

My dear Quintilio,

You won’t mind, after so many years in which we haven’t seen each other, if I ask you to do me a last favour? It’s a big favour, but it is the last I will ask. You can be sure of that. I beg above all, if you come, not to question me, don’t ask me twice to explain myself, as if you hadn’t understood the first time. The stranger this request seems to you, the better you’ll have understood. But how silly I am! You’re doing me a favour (you’ll do it, won’t you, Quintilio?) and it is I who impose conditions. I really no longer understand myself. With friendly greetings, to you, to old Maria, to the old Tromps and to the old Felicità. All old, now. How sad!

There was a postscript: ‘Don’t refuse me this favour, Quintilio. If for some reason you think you can’t do me this favour, do it for the little girl you once taught to fish.’

The old peasant accepted on the spot.

A week later, I happened to be passing nearby and paid her a visit.

As always, she received me well, and I had the impression that my conversation was not displeasing to her. I remember that at one point she rose and left me alone for a moment, so I was able to look around the room. To do that in her presence would have struck me as offensive.