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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

Sometimes when she comes early to class and the room’s still empty, she leans her forehead against the window. The street the high school is on leads to a piazza where He – she refuses to name him – once lived. Blushing, she remembers the one time she’d entered that rented room dressed in blue and white and he’d said nervously: ‘You intimidate me.’ In the tiny space of that messy room, and in half an hour of costly spontaneity, the future that awaited her had been born and died. ‘Good day, Miss,’ one of the eighteen-year-old numbskulls greets her, the first of thirty high-school students who will enter the classroom. Today Petrarch, tomorrow Tacitus, her duties. She, who for years had contented herself with any crumb he left her, and for which she paid dearly, would not die from a lack of love. But the deprivation leads to a terrible serenity. Proudly, making fun of herself, the ‘Miss’ attends a dance or two, proof that certain dangers don’t exist for her. And, in fact, whenever she dances she never looks at her partner, never says a word, but she likes the rhythm, even if she would have preferred to dance alone, inventing steps and moves. As for her reputation for being arrogant, she explains that it’s really only shyness, but knows that her timidity is actually an intolerance for banal conversation and clumsy compliments. She often dreams of being forced to marry someone – she had no idea whom – and they meet at the altar where she is unable to dislodge a ‘no’ that strangles her. When she then awakens with a jolt, she is delighted that her freedom is still secure. If anyone hints that she is in love, she responds disdainfully and denies it completely: how could anyone possibly dare to take the place of Him, the one who had rejected her? This is more or less the reason for her outrage. Her heart shut down, she becomes a little quarrelsome and admits, annoyed, that she is attractive and turns morose when, in spite of herself, she is undermined by a spark of vanity. She is not one to accept a bourgeois marriage proposal whenever asked – such a nice young man and so in love. The word ‘Miss’ sits like a crown atop her lightly bronzed hair, and woe to anyone who dares touch it. In the meantime, as she trains for a harsh maturity, enough already with anonymous floral homages and silly notes hidden in the pages of borrowed books. Very soon she will be a respectable, old-fashioned old maid. She travels alone, goes to the theatre alone, overcomes ignoble and wretched fears when, going home, she realizes she is being followed. She has no female friends.