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Authors: Italo Calvino
Invisible Cities (Vintage Classics) (7 page)
BOOK: Invisible Cities (Vintage Classics)
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Millions of eyes look up at windows, bridges, capers, and they might be scanning a blank page. Many are the cities like Phyllis, which elude the gaze of all, except the man who catches them by surprise.
C
ITIES
& N
AMES
• 3
ITIES
& N
AMES
• 3
F
OR A LONG
time Pyrrha to me was a fortified city on the slopes of a bay, with high windows and towers, enclosed like a goblet, with a central square deep as a well, with a well in its center. I had never seen it. It was one of the many cities where I had never arrived, that I conjured up, through its name: Euphrasia, Odile, Margara, Getullia. Pyrrha had its place among them, different from each of them, and like each of them, unmistakable to the mind’s eye.
OR A LONG
time Pyrrha to me was a fortified city on the slopes of a bay, with high windows and towers, enclosed like a goblet, with a central square deep as a well, with a well in its center. I had never seen it. It was one of the many cities where I had never arrived, that I conjured up, through its name: Euphrasia, Odile, Margara, Getullia. Pyrrha had its place among them, different from each of them, and like each of them, unmistakable to the mind’s eye.
The day came when my travels took me to Pyrrha. As soon as I set foot there, everything I had imagined was forgotten; Pyrrha had become what is Pyrrha; and I thought I had always known that the sea is invisible from the city, hidden behind a dune of the low, rolling coast; that the streets are long and straight; that the houses are clumped at intervals, not high, and they are separated by open lots with stacks of lumber and with sawmills; that the wind stirs the vanes of the water pumps. From that moment on the name Pyrrha has brought to my mind this view, this light, this buzzing, this air in which a yellowish dust flies: obviously the name means this and could mean nothing but this.
My mind goes on containing a great number of cities I have never seen and will never see, names that bear with them a figure or a fragment or glimmer of an imagined figure: Getullia, Odile, Euphrasia, Margara. The city high above the bay is also there still, with the square enclosing the well, but I can no longer call it by a name, nor remember how I could ever have given it a name that means something entirely different.
C
ITIES
&
THE
D
EAD
• 2
ITIES
&
THE
D
EAD
• 2
N
EVER IN ALL
my travels had I ventured as far as Adelma. It was dusk when I landed there. On the dock the sailor who caught the rope and tied it to the bollard resembled a man who had soldiered with me and was dead. It was the hour of the wholesale fish market. An old man was loading a basket of sea urchins on a cart; I thought I recognized him; when I turned, he had disappeared down an alley, but I realized that he looked like a fisherman who, already old when I was a child, could no longer be among the living. I was upset by the sight of a fever victim huddled on the ground, a blanket over his head: my father a few days before his death had yellow eyes and a growth of beard like this man. I turned my gaze aside; I no longer dared look anyone in the face.
EVER IN ALL
my travels had I ventured as far as Adelma. It was dusk when I landed there. On the dock the sailor who caught the rope and tied it to the bollard resembled a man who had soldiered with me and was dead. It was the hour of the wholesale fish market. An old man was loading a basket of sea urchins on a cart; I thought I recognized him; when I turned, he had disappeared down an alley, but I realized that he looked like a fisherman who, already old when I was a child, could no longer be among the living. I was upset by the sight of a fever victim huddled on the ground, a blanket over his head: my father a few days before his death had yellow eyes and a growth of beard like this man. I turned my gaze aside; I no longer dared look anyone in the face.
I thought: “If Adelma is a city I am seeing in a dream, where you encounter only the dead, the dream frightens me. If Adelma is a real city, inhabited by living people, I need only continue looking at them and the resemblances will dissolve, alien faces will appear, bearing anguish. In either case it is best for me not to insist on staring at them.”
A vegetable vendor was weighing a cabbage on a scales and put it in a basket dangling on a string a girl lowered from a balcony. The girl was identical with one in my village who had gone mad for love and killed herself. The vegetable vendor raised her face: she was my grandmother.
I thought: “You reach a moment in life when, among the people you have known, the dead outnumber the living. And the mind refuses to accept more faces, more expressions: on every new face you encounter, it prints the old forms, for each one it finds the most suitable mask.”
The stevedores climbed the steps in a line, bent beneath demijohns and barrels; their faces were hidden by sackcloth hoods; “Now they will straighten up and I will recognize them,” I thought, with impatience and fear. But I could not take my eyes off them; if I turned my gaze just a little toward the crowd that crammed those narrow streets, I was assailed by unexpected faces, reappearing from far away, staring at me as if demanding recognition, as if to recognize me, as if they had already recognized me. Perhaps, for each of them, I also resembled someone who was dead. I had barely arrived at Adelma and I was already one of them, I had gone over to their side, absorbed in that kaleidoscope of eyes, wrinkles, grimaces.
I thought: “Perhaps Adelma is the city where you arrive dying and where each finds again the people he has known. This means I, too, am dead.” And I also thought: “This means the beyond is not happy.”
C
ITIES
&
THE
S
KY
• 1
ITIES
&
THE
S
KY
• 1
I
N EUDOXIA
,
WHICH
spreads both upward and down, with winding alleys, steps, dead ends, hovels, a carpet is preserved in which you can observe the city’s true form. At first sight nothing seems to resemble Eudoxia less than the design of that carpet, laid out in symmetrical motives whose patterns are repeated along straight and circular lines, interwoven with brilliantly colored spires, in a repetition that can be followed throughout the whole woof. But if you pause and examine it carefully, you become convinced that each place in the carpet corresponds to a place in the city and all the things contained in the city are included in the design, arranged according to their true relationship, which escapes your eye distracted by the bustle, the throngs, the shoving. All of Eudoxia’s confusion, the mules’ braying, the lampblack stains, the fish smell is what is evident in the incomplete perspective you grasp; but the carpet proves that there is a point from which the city shows its true proportions, the geometrical scheme implicit in its every, tiniest detail.
N EUDOXIA
,
WHICH
spreads both upward and down, with winding alleys, steps, dead ends, hovels, a carpet is preserved in which you can observe the city’s true form. At first sight nothing seems to resemble Eudoxia less than the design of that carpet, laid out in symmetrical motives whose patterns are repeated along straight and circular lines, interwoven with brilliantly colored spires, in a repetition that can be followed throughout the whole woof. But if you pause and examine it carefully, you become convinced that each place in the carpet corresponds to a place in the city and all the things contained in the city are included in the design, arranged according to their true relationship, which escapes your eye distracted by the bustle, the throngs, the shoving. All of Eudoxia’s confusion, the mules’ braying, the lampblack stains, the fish smell is what is evident in the incomplete perspective you grasp; but the carpet proves that there is a point from which the city shows its true proportions, the geometrical scheme implicit in its every, tiniest detail.
It is easy to get lost in Eudoxia: but when you concentrate and stare at the carpet, you recognize the street you were seeking in a crimson or indigo or magenta thread which, in a wide loop, brings you to the purple enclosure that is your real destination. Every inhabitant of Eudoxia compares the carpet’s immobile order with his own image of the city, an anguish of his own, and each can find, concealed among the arabesques, an answer, the story of his life, the twists of fate.
An oracle was questioned about the mysterious bond between two objects so dissimilar as the carpet and the city. One of the two objects – the oracle replied – has the form the gods gave the starry sky and the orbits in which the worlds revolve; the other is an approximate reflection, like every human creation.
For some time the augurs had been sure that the carpet’s harmonious pattern was of divine origin. The oracle was interpreted in this sense, arousing no controversy. But you could, similarly, come to the opposite conclusion: that the true map of the universe is the city of Eudoxia, just as it is, a stain that spreads out shapelessly, with crooked streets, houses that crumble one upon the other amid clouds of dust, fires, screams in the darkness.
“. . .
So then, yours is truly a journey through memory!” The Great Khan, his ears always sharp, sat up in his hammock every time he caught the hint of a sigh in Marco’s speech. “It was to slough off a burden of nostalgia that you went so far away!” he exclaimed, or else: “You return from your voyages with a cargo of regrets!” And he added, sarcastically: “Meager purchases, to tell the truth, for a merchant of the Serenissima!”
So then, yours is truly a journey through memory!” The Great Khan, his ears always sharp, sat up in his hammock every time he caught the hint of a sigh in Marco’s speech. “It was to slough off a burden of nostalgia that you went so far away!” he exclaimed, or else: “You return from your voyages with a cargo of regrets!” And he added, sarcastically: “Meager purchases, to tell the truth, for a merchant of the Serenissima!”
This was the target of all Kublai’s questions about the past and the future. For an hour he had been toying with it, like a cat with a mouse, and finally he had Marco with his back to the wall, attacking him, putting a knee on his chest, seizing him by the beard: “This is what I wanted to hear from you: confess what you are smuggling: moods, states of grace, elegies!”
These words and actions were perhaps only imagined, as the two, silent and motionless, watched the smoke rise slowly from their pipes. The cloud dissolved at times in a wisp of wind, or else remained suspended in mid-air; and the answer was in that cloud. As the puff carried the smoke away, Marco thought of the mists that cloud the expanse of the sea and the mountain ranges and, when dispelled, leave the air dry and diaphanous, revealing distant cities. It was beyond that screen of fickle humors that his gaze wished to arrive: the form of things can be discerned better at a distance.
Or else the cloud hovered, having barely left the lips, dense and slow, and suggested another vision: the exhalations that hang over the roofs of the metropolises, the opaque smoke that is not scattered, the hood of miasmata that weighs over the bituminous streets. Not the labile mists of memory nor the dry transparence, but the charring of burned lives that forms a scab on the city, the sponge swollen with vital matter that no longer flows, the jam of past, present, future that blocks existences calcified in the illusion of movement: this is what you would find at the end of your journey.
KUBLAI:
I do not know when you have had time to visit all the countries you describe to me. It seems to me you have never moved from this garden
I do not know when you have had time to visit all the countries you describe to me. It seems to me you have never moved from this garden
POLO
:
Everything I see and do assumes meaning in a mental space where the same calm reigns as here, the same penumbra, the same silence streaked by the rustling of leaves. At the moment when I concentrate and reflect, I find myself again, always, in this garden, at this hour of the evening, in your august presence, though I continue, without a moment’s pause, moving up a river green with crocodiles or counting the barrels of salted fish being lowered into the hold.
:
Everything I see and do assumes meaning in a mental space where the same calm reigns as here, the same penumbra, the same silence streaked by the rustling of leaves. At the moment when I concentrate and reflect, I find myself again, always, in this garden, at this hour of the evening, in your august presence, though I continue, without a moment’s pause, moving up a river green with crocodiles or counting the barrels of salted fish being lowered into the hold.
KUBLAI
:
I, too, am not sure I am here, strolling among the porphyry fountains, listening to the plashing echo, and not riding, caked with sweat and blood, at the head of my army, conquering the lands you will have to describe, or cutting off the fingers of the attackers scaling the walls of a besieged fortress.
:
I, too, am not sure I am here, strolling among the porphyry fountains, listening to the plashing echo, and not riding, caked with sweat and blood, at the head of my army, conquering the lands you will have to describe, or cutting off the fingers of the attackers scaling the walls of a besieged fortress.
POLO
:
Perhaps this garden exists only in the shadow of our lowered eyelids, and we have never stopped: you, from raising dust on the fields of battle; and I, from bargaining for sacks of pepper in distant bazaars. But each time we half-close our eyes, in the midst of the din and the throng, we are allowed to withdraw here, dressed in silk kimonos, to ponder what we are seeing and living, to draw conclusions, to contemplate from the distance.
:
Perhaps this garden exists only in the shadow of our lowered eyelids, and we have never stopped: you, from raising dust on the fields of battle; and I, from bargaining for sacks of pepper in distant bazaars. But each time we half-close our eyes, in the midst of the din and the throng, we are allowed to withdraw here, dressed in silk kimonos, to ponder what we are seeing and living, to draw conclusions, to contemplate from the distance.
KUBLAI
:
Perhaps this dialogue of ours is taking place between two beggars nicknamed Kublai Khan and Marco Polo; as they sift through a rubbish heap, piling up rusted flotsam, scraps of cloth, wastepaper, while drunk on the few sips of bad wine, they see all the treasure of the East shine around them.
:
Perhaps this dialogue of ours is taking place between two beggars nicknamed Kublai Khan and Marco Polo; as they sift through a rubbish heap, piling up rusted flotsam, scraps of cloth, wastepaper, while drunk on the few sips of bad wine, they see all the treasure of the East shine around them.
POLO
:
Perhaps all that is left of the world is a wasteland covered with rubbish heaps, and the hanging garden of the Great Khan’s palace. It is our eyelids that separate them, but we cannot know which is inside and which outside.
:
Perhaps all that is left of the world is a wasteland covered with rubbish heaps, and the hanging garden of the Great Khan’s palace. It is our eyelids that separate them, but we cannot know which is inside and which outside.
C
ITIES
& E
YES
• 5
ITIES
& E
YES
• 5
W
HEN YOU HAVE
forded the river, when you have crossed the mountain pass, you suddenly find before you the city of Moriana, its alabaster gates transparent in the sunlight, its coral columns supporting pediments encrusted with serpentine, its villas all of glass like aquariums where the shadows of dancing girls with silvery scales swim beneath the medusa-shaped chandeliers. If this is not your first journey, you already know that cities like this have an obverse: you have only to walk in a semicircle and you will come into view of Moriana’s hidden face, an expanse of rusting sheet metal, sackcloth, planks bristling with spikes, pipes black with soot, piles of tins, blind walls with fading signs, frames of staved-in straw chairs, ropes good only for hanging oneself from a rotten beam.
HEN YOU HAVE
forded the river, when you have crossed the mountain pass, you suddenly find before you the city of Moriana, its alabaster gates transparent in the sunlight, its coral columns supporting pediments encrusted with serpentine, its villas all of glass like aquariums where the shadows of dancing girls with silvery scales swim beneath the medusa-shaped chandeliers. If this is not your first journey, you already know that cities like this have an obverse: you have only to walk in a semicircle and you will come into view of Moriana’s hidden face, an expanse of rusting sheet metal, sackcloth, planks bristling with spikes, pipes black with soot, piles of tins, blind walls with fading signs, frames of staved-in straw chairs, ropes good only for hanging oneself from a rotten beam.
From one part to the other, the city seems to continue, in perspective, multiplying its repertory of images: but instead it has no thickness, it consists only of a face and an obverse, like a sheet of paper, with a figure on either side, which can neither be separated nor look at each other.
C
ITIES
& N
AMES
• 4
ITIES
& N
AMES
• 4
C
LARICE
,
THE GLORIOUS
city, has a tormented history. Several times it decayed, then burgeoned again, always keeping the first Clarice as an unparalleled model of every splendor, compared to which the city’s present state can only cause more sighs at every fading of the stars.
LARICE
,
THE GLORIOUS
city, has a tormented history. Several times it decayed, then burgeoned again, always keeping the first Clarice as an unparalleled model of every splendor, compared to which the city’s present state can only cause more sighs at every fading of the stars.
In its centuries of decadence, emptied by plagues, its height reduced by collapsing beams and cornices and by shifts of the terrain, rusted and stopped up through neglect or the lack of maintenance men, the city slowly became populated again as the survivors emerged from the basements and lairs, in hordes, swarming like rats, driven by their fury to rummage and gnaw, and yet also to collect and patch, like nesting birds. They grabbed everything that could be taken from where it was and put it in another place to serve a different use: brocade curtains ended up as sheets; in marble funerary urns they planted basil; wrought-iron gratings torn from the harem windows were used for roasting cat-meat on fires of inlaid wood. Put together with odd bits of the useless Clarice, a survivors’ Clarice was taking shape, all huts and hovels, festering sewers, rabbit cages. And yet, almost nothing was lost of Clarice’s former splendor; it was all there, merely arranged in a different order, no less appropriate to the inhabitants’ needs than it had been before.
BOOK: Invisible Cities (Vintage Classics)
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