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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

But this type of behaviour also includes some inevitable risks. Every human relationship requires participation, in effect, commitment, dedication, beyond giving and receiving. To put it simply, I should dedicate myself (member, feelings, thoughts) to the call girl. Absurd though it may seem, I sincerely tried that, too. With Pinuccia, for example: the madam called her Pinuccia, while she insisted on being called Giusi.

After sex this Pinuccia, or Giusi, went to the bidet and sang the song that goes:

From the cliff, gleaming and white,

I talk to the sea about you every night

And every night you entrust to the sea

Thoughts of love for me.

It’s a song I like, so I followed with my voice, which is fairly well trained. She said:

‘You like that song?’

She spoke with a northern Emilia accent, maybe from Piatzenza, as they say in her town: stashion of Piatzenza, don’t crosh the tracks. And she continued, in her drawl, to explain to me that she liked the song, but not sung by Sergio Bruni – handsome profile, that Bruni, he hadn’t booed Villa, in Naples, he had paid his thugs to boo Villa, but now he had to pay some nice millions, to Villa, who had sued him.3

And she had the courage to ask me, I who am of Tuscan-Ligurian lineage, transplanted to Milan, used to dealing with respectable, educated people, priding myself on speaking an unaccented Italian: ‘But you, you’re maybe a hick from the south?’

Now, I say, how can one create a satisfying human relationship with a dog-faced woman like that? I tried to get close again to my wife, Viola, but there, too … Above all, she demands that copulation take place in the pitch-dark, more canonico et interposito lino. That is, she doesn’t take off her nightgown and she lies there, always lies there. And everything has to be resolved in a quarter of an hour at most, because she has to sleep afterward, and read before, and see to the house and the children for the rest of the day. All things considered, I really don’t know which way to turn. The other night I was overcome by despair, my nerves were tense, my blood was pulsing, and I had to do something.

As twilight falls, Viale Maino is already crowded with streetwalkers, standing at their posts, waiting for cars. And I drove up and down the entire avenue three times. At first sight, only an embarrassment of riches. But in reality …

For example, the one who kept slightly to the shadows, away from the street light, seemed pretty. But can one, honestly, venture to nod to a woman standing in the shadows? What if later, in the light, she reveals some outrageous physical defect? Others remained clearly visible: one, with her coat open, showed the swell of her breasts, which seemed promising. But can one trust what one sees of breasts with the shirt on? Who protects us from the tricks of bras, corsets, girdles, elastics and straps that, once released, often reveal devastation?