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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

Another had a figure that seemed to me, all in all, acceptable, but her face was obtuse and hostile, so I preferred not to signal to her. I drove slowly, staying near the edge of the pavement, three times up and down. But, however slowly you go, there’s no way of looking carefully, of reflecting on the pros and cons, of making a considered decision. These things are done better on foot. So I returned to Via Borgogna, parked the car, glanced at the photographs outside the Maschere, where they do stripteases, traversed the porticoes, crossed the temporary bridge that passes over the excavation for the metro in Piazza San Babila, and arrived at the porticoes of the Corso.

The traffic is on a detour there, too, because of the metro, and since at that hour the creak of the buckets and the breathing of the cement mixers ceases, I heard no more than the tapping heels of people walking. Women walk rapidly, alert and sullen, all alike, whether they’re hookers or not. But I know how to distinguish them: that one, for example, maybe would have the face, but besides her purse she’s carrying a package, so she isn’t. The rule doesn’t admit exceptions: package plus purse – to be excluded. Also a book, a magazine, a Sunday supplement. The hooker on the job has always and only the small purse.

Not only: while others keep their eyes fixed straight ahead and head high, when a prostitute meets up with you she turns her gaze slightly and gestures with her head. In this way I picked out three or four. One tall, shapely, with a shiny black leather coat; another smaller and round, plump, the way I like, with teased hair and a flared skirt; a third very thin and long, with a horsey face.

I followed the small one; she noticed and slipped off along Via Agnello. She stopped in front of a shop window and when I was close she said immediately, ‘Will you give me ten thousand?’ I kept going, and from Via San Paolo arrived again at the porticoes. There I immediately found a buxom brunette who advanced at a comfortable pace, with a nice smile. She looked at me, and I immediately said ‘Good evening, Miss.’ She turned, faced me and tried to respond, but with gestures more than with her voice. From her throat issued a faint, dull sound, ‘Uuuh, uuuuh,’ and yet she didn’t abandon her friendly smile. She held her hand open, as if to say five thousand. ‘Eeeh, annn, eh!’ she said again.

I was stunned, in disbelief that a deaf-mute could be a streetwalker in the centre of Milan. I turned on my heels and went back over the bridge, having decided to get in the car and go home. But the car wasn’t there. I retraced all of Via Borgogna, went back, turned on to the side street, went as far as the Rivoli cinema, asked the parking attendant, but he didn’t even answer, because I leave the car in authorized spaces only, and that wasn’t one. In other words, it had been stolen.