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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

Certain clever gynaecologists, I no longer remember whether American or Swedish, would even like to name the maternity ward of their clinic after Ogino and Knaus, to indicate how many new births owe their good fortune (?) to those famous scientists. My son Augusto, born in 1948, is of that batch. We married young, Viola and I, and at the time knew very little about such things.

The chemical method seems to be more secure: as everyone knows, sperm prosper in an alkaline habitat and, on the contrary, react negatively when they find themselves in the presence of acids. So one has only to create an acidic internal environment (through special foam-generating suppositories) to kill or at least neutralize the sperm. The inconveniences are obvious: you feel the acidity, and not pleasantly, on the mucosa of the glans and especially in the balanopreputial sulcus.

Finally, there is the mechanical method: placing a pure and simple barrier between the sperm and the fertilizable egg. The barrier can be positioned either directly at the opening of the urethra (that is, using the common rubber condom) or in front of the cervix, using the diaphragm: it’s a disc, also made of rubber, with a diameter of eight centimetres and a reinforced edge, which, with an adroit manoeuvre, is suspended between the pelvic bone and the muscles of the anal sphincter, in such a way as to entirely block the mouth of the uterus. Best to dampen the diaphragm with a spermicidal substance when it’s inserted, as a guarantee against the possible porousness of the rubber. At first, to position it, the woman will likely resort to a special little plastic rod, jointed and serrated; then she’ll be able to do it using just her fingers.

In everyone’s opinion, the diaphragm (hardly noticeable after a short period of adjustment) is by far preferable to the condom, which is annoying and, let’s face it, humiliating. But a doctor has to measure the position and angle of the woman’s cervix, the contractibility of the striated muscles, the relative angle of the vaginal duct. Otherwise the diaphragm may not form a perfect seal, as, for example, in the case of my second-born, Cesare. My son was born in 1950, and my wife, Viola, accepted the new pregnancy with the tacit submissiveness that is her most admirable gift.

Her eyes turn soft and moist, her body is fuller, her skin clear: I have to say that she becomes beautiful. The trouble begins later, around the seventh month, when she loses her shape, along with her serenity: she’s no longer a woman but an animal, a plant that Mother Nature destined for procreation, and then she stays in bed, with the meek, vacant gaze of a sheep, and waits, waits to expel the infant, nurse it, clean it, cradle it in her arms.

Tiberius, the third-born, came into the world by mistake. It was in 1954, a Saturday evening when Cesare and Augusto were spending the night at their grandparents’, and we decided, on the spur of the moment, to spend the weekend out of town, stopping in the first motel we found on the road to the lakes. Viola had left her faithful diaphragm in the medicine chest, but the evening was beautiful, the wine light, pale and sparkling, and I didn’t manage to pull out. The pregnancy was smooth, as always: in the seventh month Viola fell into lethargy – lethargy, so to speak, of course: she ate, slept, took walks – and sent me to sleep in the guest room, so she wouldn’t bother me in the night, she said. Indeed, when she’s expecting a child, she’s always hot at night and wants the window open and scarcely a blanket on the bed.