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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

I was a little puzzled, and I wondered if Rita had said ‘material act’ or ‘material fact’.

I said: ‘What?’

‘No, I meant, do you want us to do something material right away or should I entertain you?’

After a while I was about to enter her, but she interrupted me again. ‘Excuse me,’ she said and naked as she was went to the door, opened it and called out:

‘Mammaaa!’ and then again: ‘Mammiiina! Mammina, the rubber!’

Anna arrived, smiling, holding the envelope with the rubber, put the head into it, asked me if everything was all right, explained to me that Rita, her niece, was afraid, so young, of getting pregnant and losing her figure. I must admit that I was disappointed, partly because, given Rita’s youth and freshness, Anna, with the rubber, wanted fifteen thousand lire instead of the usual ten, and she had added nothing of her own. I didn’t ask the girl if Anna was her aunt or, rather, her mother; anyway I never went back. Anna called me a few more times, but I always declined the appointment, making up an excuse, and now she, too, has stopped calling.

Finally she got it, that business is business, it’s true, but I, too, have to think of my interests, and I can’t spend fifteen thousand lire for a girl, as young as you like, but cold as a fish, and afraid of getting pregnant besides. No one understands that fear better than I do, but, on the other hand, if a woman wants ten or fifteen thousand lire for a single sex act, which lasts at most half an hour, all-inclusive, she ought to run some risk, no?

Call girls definitely have some advantages certainly. They are almost always cute and young, clean and probably healthy (we men, too, have to run a slight risk, I’ll admit). But usually you have to take them sight unseen, trusting the taste of the madam. Certainly, after you’ve met one you liked, you can return to her; but the trouble is that these madams don’t like to keep the same women around all the time. Partly because the client likes novelty, partly because after a while two women always end up quarrelling – always for some foolish reason, you know how women are – and then a girl who’s offended is quick to blow the whistle, or get someone else to blow the whistle, to the police. Behind the girl there’s always a man – a ‘boyfriend’, they say – and it’s he who goads her to go to the police when the madam has done a real or apparent wrong. Anyway, it’s well known that with the new Merlin Law the one who gets caught is the madam/pimp, never the girl.

Then, there are the neighbours, who are envious and gossipy, and the concierges, generally female, who are stuck in the Hapsburg era and act like spies. If they always see the same woman going up the stairs, they begin to talk, and the rumour sooner or later reaches the right person. So the madam also makes sure to move house periodically, but stays in the same neighbourhood, so that, for a tip, she can keep her old telephone number. Thus the clientele remains the same, on the whole, but the girls change often, and, since they never go more than two or three times with the same man, on the one hand, they have no way of gaining real professional experience; on the other, they’re not concerned with satisfying their partner, and always try to hurry the session along.