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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 spoke of our having spent twenty days together. However, I wouldn’t want you to imagine that during those three weeks she and I lived, as they say, “conjugally,” sharing our bed, meals and occupations. Lighea’s absences were quite frequent. Without any advance notice she would dive into the sea and disappear, sometimes for many hours. When she returned, almost always first thing in the morning, either she found me in the boat or, if I was still in the cabin, wriggled up the pebbled shore till she was half out of the water, on her back and pushing with her arms, calling to be helped up the slope. “Sasà,” she would call, because I’d told her this was the diminutive form of my name. In this manoeuvre made awkward by the same part of her body that granted her agility in the sea, she gave the pitiable impression of a wounded animal, an impression immediately obliterated by the smile in her eyes.

‘She ate nothing that was not alive. I often saw her rise out of the sea, delicate torso sparkling in the sun, teeth tearing into a still-quivering silver fish, blood running down her chin; after a few bites the mangled hake or bream would be tossed over her shoulder and sink into the water, staining it red, while she shouted in childish delight and ran her tongue over her teeth. Once I gave her some wine. Drinking from a glass was impossible for her, so I was obliged to pour some into her small and slightly greenish hand; she lapped up the liquid as dogs do, her eyes registering surprise at the unfamiliar flavour. She said it was good but afterward always refused it. From time to time she came to shore with hands full of oysters or mussels, and while I struggled to open the shells with a knife, she crushed them with a stone and sucked down the throbbing mollusk along with bits of shell that did not trouble her in the least.

‘I told you before, Corbera: She was a beast and at the same time an Immortal, and it’s a shame that we cannot continuously express this synthesis in speaking, the way she does, with absolute simplicity, in her own body. Not only did she display in the carnal act a cheerfulness and a delicacy altogether contrary to wretched animal lust, but her speech was of a powerful immediacy, the likes of which I have only ever found in a few great poets. Not for nothing was she the daughter of Calliope: Oblivious to all cultures, ignorant of all wisdom, disdainful of any moral constraint whatsoever, she was nevertheless part of the source of all culture, of all knowledge, of all ethics, and she knew how to express this primitive superiority of hers in terms of rugged beauty. “I am everything because I am only the stream of life, free of accident. I am immortal because all deaths converge in me, from that of the hake just now to that of Zeus; gathered in me they once again become life, not individual and particular but belonging to nature and thus free.” Then she said, “You are young and handsome. You should follow me into the sea now and escape sorrows and old age. You would come to my home beneath enormous mountains of motionless dark water, where all is silent calm so innate that those who possess it no longer even perceive it. I have loved you, and so remember: When you are tired, when you can truly bear it no longer, all you have to do is lean out over the sea and call me. I will always be there, because I am everywhere, and your dream of sleep will be fulfilled.”