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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

‘She lay back, resting her head on interlaced fingers, displaying with serene immodesty the delicate little hairs of her armpits, her splayed breasts, her perfect stomach. She exuded what I have clumsily referred to as a perfume, a magical smell of the sea, of decidedly youthful sensuality. We were in the shade but twenty yards from us the seashore reveled in the sun and quivered with pleasure. My near-complete nudity ill concealed my own emotion.

‘She spoke and thus was I overwhelmed, after her smile and smell, by the third and greatest of her charms: her voice. It was a bit guttural, husky, resounding with countless harmonics; behind the words could be discerned the sluggish undertow of summer seas, the whisper of receding beach foam, the wind passing over lunar tides. The song of the Sirens, Corbera, does not exist; the music that cannot be escaped is their voice alone.

‘She spoke Greek and I struggled to understand her. ‘I heard you speaking to yourself in a language similar to my own. I like you: take me. I am Lighea, daughter of Calliope. Don’t believe the stories about us. We don’t kill anyone, we only love.’

‘I bent over her as I rowed, staring into her smiling eyes. When we reached the shore I took her aromatic body into my arms and we passed from the blazing sun into the deep shade; there she poured into my mouth such sensual pleasure that it is to your terrestrial kisses as wine is to insipid water.’

The senator narrated his adventure in a low voice. I who in my heart had always set my own varied experiences with women against those he regarded as mediocre, and had derived from this a foolish sense of reduced distance, was humiliated: in matters of love as well, I saw myself sunk to unfathomable depths. Never for a moment did I suspect he was lying to me, and had anyone else been there, even the most sceptical of witnesses, he too would have perceived the certainty of truth in the old man’s tone.

‘So began those three weeks. I have no right, nor would it be merciful to you, to go into details. Suffice to say that in those embraces I enjoyed the highest form of spiritual pleasure along with the greatest physical gratification, devoid of any social resonance, the same that our solitary mountain shepherds experience when they couple with their goats. If the comparison repels you, it’s because you’re not capable of performing the necessary transposition from the bestial to the superhuman plane – planes that were, in this case, superimposed.

‘Think about how much Balzac dared not express in “Une Passion dans le désert.” From her immortal limbs flowed such life force that any loss of energy was immediately compensated, increased, in fact. In those days, Corbera, I loved as much as a hundred of your Don Juans put together, over their entire lives. And what love! Sheltered from conventions and crimes, the rancor of commendatori and the triviality of Leporellos, far from the claims of the heart, the lying sighs, the phony melting weakness that inevitably mark your sort’s wretched kisses. To be honest, a Leporello did disturb us the first day, and it was the only time: Around ten I heard the sound of the farmer’s boots on the path that leads down to the sea; just in time, with the farmer at the door, I managed to throw a sheet over the uncommon body of Lighea. Her uncovered head, throat, and arms led our Leporello to believe this was some commonplace affair and hence commanded his sudden respect. His stay was shorter than usual. As he went he winked his left eye, and with his right thumb and index finger at the corner of his mouth made the motion of curling an imaginary mustache; and he returned up the path.