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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’d like at least … See these fingernails? I’d like to dig them into the face of every beautiful woman who passes down the street, teasing men provocatively.

What stupid, miserable and thoughtless creatures all women are! They dress up, put on their fineries, turn their laughing eyes here and there and show off their provocative shapes as much as they can. But they don’t realize that they too are in the trap and are fixedly formed to die, and have the trap in themselves for those that are to come!

For us men the trap is in them, in women. For a moment they put us once again in a state of incandescence to wrest from us another being who is sentenced to death. They say and do so much until they finally make us fall, blind, passionate and violent, into their trap.

Me too! Me too! They made me fall too! In fact, most recently. That’s why I’m so furious.

An abominable trap! If only I had seen it … A demure young lady. Timid, humble. As soon as she would see me, she would lower her eyes and blush because she knew that otherwise I would never have fallen.

She used to come here to put into practice one of the seven corporal works of mercy: to visit the sick. She used to come for my father, not for me. She used to come to help my old governess look after and clean my poor father, who’s in the other room …

She used to live here in the adjoining apartment and had become friends with my governess, to whom she would complain about her idiotic husband, who always reproached her for not being able to give him a son.

But do you understand how it is? When you begin to stiffen and you can no longer move as before, you want to see other small corpses around, very young corpses that still move as you did when you were very young; other small corpses that resemble you and do all those little things that you can no longer do.

There’s nothing more amusing than to wash the faces of small corpses that still don’t know they are caught in the trap, and to comb their hair and take them out for a little stroll.

As I was saying, she used to come here.

‘I can imagine,’ she would say, blushing, her eyes downcast, ‘I can imagine what a torment it must be, Signor Fabrizio, to see your father in this condition for so many years!’

‘Yes, Signora,’ I would answer gruffly and I would turn around and go away.

I’m certain now that as soon as I would turn around and go away, she would laugh to herself, biting her lip to hold back her laughter.

I would go away because, in spite of myself, I felt that I admired that woman. Not indeed because of her beauty – she was very beautiful, and the more she showed she had no regard for her beauty, the more seductive she was – but because she didn’t give her husband the satisfaction of putting another unfortunate in the trap.