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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

The Trap

Translated by Giovanni R. Bussino

No, no, how can I resign myself? And why should I? If I had any responsibilities towards others, perhaps I would, but I don’t! So, why should I?

Listen to me. You can’t say I’m wrong. No one reasoning in the abstract like this can say I’m wrong. What I’m feeling, you and everyone else feels too.

Why are all of you so afraid of waking up at night? Because for you the reasons for living are strengthened by the light of day, by the illusions produced by that light.

Darkness and silence terrify you. You light a candle but the candlelight seems dismal to you because that’s not the kind of light you need, right? The sun! The sun! All of you desperately seek the sun because illusions no longer arise spontaneously with the artificial light you yourselves procure with a trembling hand.

Like your hand, all your reality trembles. It reveals itself to you to be fake and flimsy. Artificial like that candlelight. All your senses keep watch, painfully tense in the fear that beneath the reality that you discover to be flimsy and hollow, another reality may be revealed to you: an obscure and horrible one – the real one. A breath of air … What’s that? What’s that creaking sound?

Suspended in the horror of that uncertain wait, amid chills and sweat, you see your daytime illusions in that light. They move about the room with the appearance and gait of ghosts. Look at them carefully. They have the same puffy and watery bags under their eyes that you have, the same jaundiced look brought on by your insomnia, and your arthritic pains too. Yes, the same dull torment caused by the gout in the joints of your fingers.

What a strange appearance, what a strange appearance the pieces of furniture in your room assume! They too seem suspended in a bewildering stillness that troubles you.

You slept with them around you.

But they do not sleep. They remain there both day and night.

For now, it’s your hand that opens and closes them. But tomorrow it’ll be another hand. Who knows whose other hand! … But for them it’s all the same. For now they contain your clothes: empty forms that have been hung up and that have taken on the shape and wrinkles of your tired knees and bony elbows. Tomorrow they’ll contain someone else’s forms hanging there. The mirror on the wardrobe reflects your image now, but it doesn’t preserve a trace of it, nor will it preserve a trace of someone else’s image tomorrow.

The mirror itself cannot see. The mirror is like truth.

Do you think that I’m delirious, that I’m talking nonsense? Come on, you understand me, and you understand even what I am not saying since I find it very hard to express this obscure feeling that rules me and overwhelms me.

You know how I’ve lived up till now. You know that I’ve always felt revulsion and horror about giving myself some sort of form, becoming congealed and fixing myself even momentarily in it.