Tag: NYRB Classics

As we live by metaphors so we die: The Limit by Rosalind Belben

Ilario watched Anna waiting to die.

For months on end he is forced to sit beside a person whom he loves—very much—whose poor head must be filled with thoughts, and images of death.

Spare and unflinching in its depiction of an unconventional love and a most conventional death, Rosalind Belben’s The Limit presents the story of a middle-aged English woman, prematurely aged and ravaged by cancer, and her much younger Italian seaman husband, as the one gradually loses her ability to function and the other copes with his feelings of growing distaste and deepening love for his ailing wife. It is one of the strangest books I have ever read, but one that, beyond its often coarse, blunt descriptions of both lovemaking and illness—sex and death—lies a portrait of an unlikely love affair grounded in a shared sensibility that defied the many sharp contrasts between them and that will endure beyond the grave.

As Paul Griffiths notes in his helpful introduction, The Limit, Belben’s third book, first published in 1974, was a marked departure from her first two. Although other writers were, in the 1970s, determined to “shake” up the English novel, Belben’s writing “was like no other and remains startling half a century later.” Her narrative style is idiosyncratic. Temporality can be compressed or expanded in unexpected ways, syntax continually surprises, and sentences are often abruptly shortened or laced with a series of colons. Perspective shifts abruptly from third to first person, slipping in and out of Ilario’s or Anna’s thoughts, depending on the chapter. And the chapters themselves are thematic, with each theme repeated three (and in one case, four) times, but they do not follow a regular sequence, nor are they chronological but together they build in intensity and intimacy, in spite of, or perhaps because of, the often harsh bluntness of the narrative with its moments of ugliness and beauty.

Belben’s themes—Transmigration, Rapture, Grief, Sea-Change, Childhood, Future—all take their titles from definitions found in the Hamlyn Encyclopedia World Dictionary.  The Rapture chapters, for instance, are titled “The Carrying of a Person to Another Place or Sphere of Existence,” Grief is “A Cause or Occasion of Keen Distress or Sorrow,” Transmigration becomes “The Passage of a Soul at Death into Another Body.” Yet as lofty sounding as these chapters may sound, Anna and Ilario are not believers:

God had been disposed of long ago.

Neither she nor I acknowledged the divinity. Our faith lay in mankind, not in its mythical maker. She showed little sign of abdicating conviction for a god she spent her life denying. We agreed upon the possibility of a different reality: but that did not leave Anna any hope.

Thus she embarks into a dark journey, one which her husband must now help her navigate, but on dry land his seaman’s skills leave him feeling ill equipped. In their relationship, Ilario confesses, she had always directed and guided his way. “Without a wife, without her, I am nothing, I am useless. Was always useless.”

Anna’s side of the narrative is internalized. She is past conversation; she thinks of dying. Her memories carry her back to childhood and to earlier times in her marriage. But the man attending to her at home or sitting at her bedside in the hospital barely registers in the present. He is alone—save for the passing companionship of other husbands visiting their own sick wives and awkward interactions with Anna’s siblings. Yet as time passes, he feels closer than ever to the “elderly” woman slowly fading away. His wife.

The Limit is not an easy read: Ilario’s descriptions of Anna’s body, in their intimate moments and his later ministrations in her final days, are frank, at time uncomfortable, but oddly not without a certain tenderness. Meanwhile, Anna’s childhood memories hint at the pain and dark secrets in her respectable English family:

Protect me from my mother. Make my father beloved come alive.  Rise: my dog from the dead. But prayers are seldom if ever answered. Anna is born in 1922 (twenty years will pass before his birth): childhood proves unsatisfactory, an unsalutary experience: and to it the Anna grown up is irreversibly linked, to it pieces of her now are related: they are part of her score yet do not, repeat not, determine her whole works. Simply, her machinery lacked oil in the past. I hate my mother.

She revisits disturbing events from her youth, their lasting impact. When she meets Ilario, it is unsurprising that she is forty and still a virgin. Yet, it is the unlikely love that binds this odd couple together that makes this novella so intriguing.

One can imagine that in choosing a partner so different in age, culture, and class, Anna is freeing herself from the constraints of her family background. We don’t know enough about Ilario’s past to know what might have first attracted him to this plain, older woman. “An iron maiden. Forged in a landscape of snow.” But, scenes  drawn from their decade of marriage indicate strong mutual interests. They both harbour a love of travel and a love of the sea. Anna, before illness overtakes her, is a sturdy, adventurous woman,  unbothered when she and Ilario find themselves facing a man dying of leprosy in North Africa, nor does the threat of a tempest at sea frighten her. Quite opposite, in fact. The Sea-Change chapters each offer snapshots of their time together away from England, of their shared companionship in calm and in adversity, but the third such chapter is especially exhilarating. Ilario as a young captain, awakes to find his ship facing a life threatening storm at sea—all while his wife is onboard:

Ilario wished she could be spirited to landfall. He noticed a glittery expression: she adored the crisis, the whole situation. Not a clue did she have, la poverina, unreal in an unreal world. Addicted to unreal drama.

He assesses the heavy and unstable loads down in the hold. Orders them secured and secured again. Comforts his experienced bosun whom he knows well:

Fear not: soon we shall plough on through our appalling conditions, trusting a stability we in reality don’t possess. He smiles, loving his ship and his wife, his wife and his ship: Ilario takes heart. The tops of the waves already sprinkled the bridge: it could hardly be mere spray. But he relaxed, eating a marmalade sandwich.

Ilario’s love is steadfast.  Sometimes its strength even seems to surprise him. And as the Future chapters show, even as other adventures and women cross his path, no one can dislodge the place Anna continues to hold in his heart. Illness and death, dying seen from the inside and from the bedside, may be the central focus of this novella, but at heart it is a story that demonstrates just how inexplicable and enduring love can be, a work not soon forgotten.

The Limit by Rosalind Belben with an Introduction by Paul Griffiths is published by New York Review Books Classics.

“Here, on this mountain, there’s the living and the dead.” The Wounded Age and Eastern Tales by Ferit Edgü

Years later, as I leaf through the notebooks,
I see that these people and I,
who didn’t speak each other’s languages,
had understood one another.
I don’t know what language we had I common,
nor do I want to know.
Our common language didn’t change them
but it changed me. I’m sure of it.
Every passing day returns to me the traces
of our shared life in that mountain village;
I see them. I live them.
And these words I’ve been scrawling through the years
are those traces, words wounded like me.

Hakkâri is a province in the southeast corner of Turkey with an overwhelmingly Kurdish population and a long history of violence and displacement amid the various ethnic and tribal communities that have called the area home over the years, up to the present military subjugation of insurgents fighting for an independent Kurdistan. It is a rugged region comprised of mountains, steppes and deserts drained by the Great Zab River and it is the setting, a character in its own right even, in much of the fiction of Turkish writer Ferit Edgü, including the two texts published together by New York Review of Books Classics as The Wounded Age and Eastern Tales.

In 1963, after graduating with a degree in fine arts and philosophy, the then twenty-four year-old Edgü was assigned, in lieu of military service, to a nine-month teaching post in the village of Pirkanis in an area of Hakkâri so remote it could only be reached on foot or by horseback. The experience would be, by his own frequent admission, the most transformative of his writing life. For a young man raised in Istanbul who went on to study in France, it must have been a shock to arrive in such an isolated location, but, as the quote above, taken from the preface to his 1995 collection of short fiction, Eastern Tales, shows, the differences between himself and a people with a culture and language so foreign to him somehow melted away. He was never able to return in person, but his characters, narrators and stories have continued to find a life there.

Edgü’s narratives are, in manner that seems appropriate to the harshness of the environment and the simplicity of the lives of the people of Hakkâri Province, characteristically stripped to the bare essentials. His language is spare and unadorned, often reading as a kind of prose poem, with each sentence or two appearing on a new line. He is quoted in the translator Aron Aji’s Afterword as follows:

I want nothing superfluous in my writing. Texts cleansed of details; the event giving rise to the story distilled to its concisest form…. I’ve tried to do away with narration, fictionalization, similes and metaphors…. I cannot stand metaphorization… [or] descriptions built with ornate words, long, unbearable sentences that serve as signs of an author’s mastery…. Just as we have freed writing from psychology, we must free it from metaphors and similes (nothing resembles anything else).

He relies rather on voice, perspective, and tone, allowing dialogue—internal or external—to carry the narrative force. Meanwhile, the same words tend to appear again and again—bear, wolves, dog, snow, mountain, people—this repetition or, if you prefer, intentionally limited or controlled vocabulary has an incantatory effect.

The present volume consists of a novella, The Wounded Age (2007) and Eastern Tales (1995), a collection of four short stories and seventeen minimal or micro-fictions. The reverse chronological placement is apparently designed to foreground “the trajectory of stylistic distillation” typical of Edgü’s work. The novella is the account of an unnamed narrator who returns to report on a crisis in the same mountainous region he once visited in his youth. According to an essay in The Nation, the inspiration was the Halabja Massacre on March 16, 1988, when Iraqi troops attacked the Kurdish town of Halabja with mustard gas and nerve agents, killing up to 5000 residents and injuring many thousands more. As survivors tried to flee over the border into Turkey, they were blocked by the army. Edgü had wanted to cover the situation but his editors felt it was too dangerous for him. So he relied on his memories of the place and its people. Thus, the incidents depicted in The Wounded Age do not reference any specific event or location (although the border is a key element), and the horrors captured on the faces of the adults and children the reporter encounters and their accounts of rivers of blood filled with corpses speak volumes.

They come in wave after wave. Down the mountains, down the rocks.
Women, men, children. A human deluge.
Some come carrying saddlebags. Others, rifles. Their women and children on mules. Or their wounded.
Not their dead. Those they’ve buried.

Unfolding in short segments, through conversations he has with survivors, army officers, and his patient guide and translator, Vahap, the reporter gradually pieces together a larger tapestry of loss, dislocation, and destruction. He listens. He photographs. His dreams and nightmares attempt to fill in the gaps.

Where’s my mother? Where’s my father? My brother, my sisters?
Where’s my dog? Where’s my house? Where’s my village?
Where are my mountains? Where am I? Where’s here?
Desolate. Eerie emptiness. But a voice kept screaming these questions.
I wanted to photograph this voice. The one asking the questions. That’s why I was sent here. I could hear the voice but saw no one to whom the voice belonged.
Since I couldn’t photograph the questioner, I’ll photograph the questions, I said to myself. And so I did.

The stories collected in Eastern Tales tell of a proud people, with simple lives shaped by landscape and tradition. Sometimes the narrator is an outsider, a teacher or in one instance an architect, who has come into the community with a particular role to fulfil, but other tales belong solely to the people themselves. The longer pieces tend to contain somewhat more descriptive detail than the spare and poetic novella, but most still rely on dialogues—with the attendant confusions that tend to arise between villagers and anyone from outside, be it a larger town or a distant city—or unaffected monologues to carry the thrust of the narrative. In the ultra-short pieces, this is stripped down further. Life in this corner of the world is hard, but it is met by its inhabitants with a stoic fatalism that is well honoured through the sharp focus and stark beauty of Edgü’s prose.

The Wounded Age and Eastern Tales by Ferit Edgü is translated from the Turkish by Aron Aji and published by NYRB Classics. It has been short listed for the 2024 ERBD Literature Prize.

Holding the fort: The Stronghold by Dino Buzzati

Fortezza Bastiani was neither imposing with its low walls nor beautiful in any way. Its towers and ramparts weren’t picturesque. Absolutely nothing alleviated its starkness or recalled the sweet things of life. Yet Drogo gazed at it, hypnotized as on the previous night from the base of the gorge. And an inexplicable ardor penetrated his heart.

As newly commissioned officer Giovani Drogo makes his way to the mysterious fortress on the mountainous northern border of his homeland, he is unable to imagine what lies ahead. When he chances upon Captain Ortiz who is heading in the same direction, he is surprised to hear that the older man has already spent eighteen years at the Fortezza, and speaks of it in less than glowing terms. And yet, as the structure finally comes into view, the young lieutenant is struck by a strange attraction. He also notices, in the captain’s face, a curious mix of joy and sadness. The complicated motion he observes on this day, is one he too will succumb to.

The Stronghold, the best known work by Italian journalist and writer Dino Buzzati (1906–1972), is a tragic tale of how easily youthful ambition and dreams of glory can be lost to the slow erosion of time. Travelling a fine line between the realistic and the fantastic, this novel is a slow, steady march toward an ending as inevitable as it is unexpectedly unkind. When Drogo first arrives, he quickly learns that Fortezza Bastiani’s glory days are long gone. Young soldiers tend to volunteer simply because two years at this bleak outpost count for four, effectively jumpstarting their military careers. But something’s wrong. Drogo did not volunteer, he was assigned. He argues that a mistake has been made, he requests a release from his commitment. His superior responds with apparent empathy, encouraging him to stay for a mere four months for appearances’ sake. Then something can be arranged, a visit to the fort’s doctor to receive a diagnosis that will assure his reassignment. Four months in, however, he will decide to stay. He will have fallen under the spell of the fortress, the towering mountain range that cradles it and its proximity to that vast unknown desert where an enemy may well lurk, preparing to strike. The possibility of glory is a powerful drug.

Through Drogo’s mind passed the memory of his city, an indistinct image—streets thunderous under the rain, plaster statues, dampness in barracks, dreary bells, faces weary and haggard, endless afternoons, attics dirty with dust.

Here, however, the vast mountain night was advancing, clouds in flight over the Fortezza, miraculous omens. From the north, from the invisible north behind the walls, Drogo felt that his own destiny was pressing.

Buzzati skillfully balances finely drawn scenes—Drogo’s first return to the city, the excitement and speculation when figures are perceived moving out of the distant mists of the frontier, or an ill-fated expedition to mark the boundary—against the passage of months and years and decades. An aching, sorrowful mood rests over the stark beauty of the harsh landscape that so captivates the men who dedicate their careers to this mostly forgotten frontier. And, as much as we know his fate is sealed, it is difficult not to feel for the young man with the confidence of a whole life ahead of him as he ultimately finds himself following the pattern of the other officers who spend their entire careers walking the halls and ramparts of the isolated fort, caught up in the swell of self-importance, routine, and vague purpose.

Originally published in 1940 as Il deserto dei Tartari, the novel was widely praised, relieving the doubts and insecurities that had dogged its author throughout the creative process. Although Buzzati was drawing on some of his own experiences covering conflict and inspired in part by his appreciation for Kafka’s The Castle, this work is not an explicitly political. The country is never named, nor is the neighboring land of desert. The enemy exists primarily in the minds of the soldiers. The questions it raises, the author suggests, about “hope and the life that passes fruitlessly” are existential in nature. Yet, when the first English translation by Stuart Hood appeared in 1952, the chosen title, The Tartar Steppe, encouraged readers to understand it in relation the Cold War and fear of the USSR. Meanwhile, in Italy, it would come to be seen as a critique of fascism. The novel’s openness to interpretation is indicative of its strength as a timeless and recognizable fable, one that can apply to both the personal and political.

This new translation by Lawrence Venuti—now with a title reflecting the original title the author wanted—attempts to allow for the historical interpretations without losing the humanist qualities earlier readers connected with. It also leaves intact some Italian greetings and terms, to situate the narrative in a particular culture and add a “political edge” in certain scenes. Otherwise, Venuti aims to adopt an English that would be accessible to a broad anglophone audience. His Afterword is quite illuminating, deepening an appreciation of Buzzati’s aims, this fine novel’s reception over the years and his approach to translation. It is one of two works by Buzzati recently added the New York Review of Books Classics catalogue.

The Stronghold by Dino Buzzati is translated from the Italian by Lawrence Venuti and published by NYRB Classics.

Oh Calcutta! Reflections on my second visit to the City of Joy

A week in Calcutta, my second visit to the city, now lies behind me. I am back in Bangalore again, looking out over the rooftops as the sounds of a busy Saturday remind me that life is ever alive and vital in a large Indian metropolis. But, as I sit here, the sights, sounds and scents of Calcutta are still coursing through my imagination. It’s a hard city to shake once it gets into your system.

Last year, as my first introduction to India, Calcutta was not what I expected. A full assault on the senses in ways I was not prepared for. It is still is, but this year I returned with a little bit more perspective, however limited. Unlike some people I’ve spoken to who cannot imagine why anyone would want to, or dare to, go to Calcutta, picturing the city at its most difficult times (enhanced perhaps by a little Hollywood melodrama as well), I had arrived expecting it to be more modern than what I found, especially in the grand, old, if somewhat decaying central parts of town. This time, however, I noticed more office complexes and taller buildings although somehow Calcutta manages to do “modern” and yet maintain a distinct element of shabby chic. Either that or, as in the new curator’s offices at the stately Victoria Memorial demonstrate, create a generic and unremarkable annex completely at odds with the echoes of the past. It’s a wonderfully eccentric we’ll do it our way way of being as stubbornly defiant as the hand pulled rickshaw drivers that continue to make their way along the back streets.

And speaking of streets, after a taste of the traffic in Bangalore, Mumbai or Kochi, Calcutta is comparatively ordered and slow. Very slow. Typically vehicles stay in their lanes, and the traffic police ensure a general order, lights at intersections are obeyed, and major roadways can be safely crossed. Which is saying a lot to be honest. It is a walkable city. The pathways can be rough at times, or filled with street sellers and food vendors, but if necessary one can generally manage to travel along the edge of the roadway. Some of the backstreets are fairly quiet and empty much of the day. But if a single vehicle comes along, you will hear of it. More than one vehicle and you won’t be able to hear yourself think. The noise of the car horns can be ear splitting. I’m inclined to think that anyone out to acquire a new or used vehicle must head to the showroom, car lot, back alley or wherever such transactions might occur and simply lean on the horn. If a few windows shatter, it does not matter if the wheels are falling off, it’s good to go!

Another traffic related observation I noted this time is the increased use of helmets on motorcycles. Friends told me that it has been a point of enforcement over the past year. And a good thing too. I was heading up a major thoroughfare on my way to meet a friend at the Marble Palace, when I came across a motorcycle accident. There were two children and one or two adults on the cycle, all fortunately with helmets. The one boy must have fallen off. As I passed, they were carrying this dazed child to a bus stop bench and a large crowd was gathering all shouting and offering their opinions. Without helmets it could have been far worse. All I could think of was the woman I saw speeding down the expressway in Bangalore with her young daughter on her lap, neither with helmets. But of course, where I live, motorcycles are a seasonal mode of transport, not a practical necessity as they are in this part of the world.

Traffic and faded architectural glory aside, to be back in Calcutta felt like coming home. A place I returned to seeking to refine a creative focus. On my first visit I came fully intending to write; this time I came with no such illusions. I came to experience, to meet other creative spirits, and to reconnect with all the good people at Seagull Books who have become dear to me. This time my stay was shorter, but coincided with so many wonderful visitors and events. It began, the night I arrived, with the opening of Removing the Gaze, an exclusive showing of collages by German artist Max Neumann. Monday morning began with NYRB Classics editor Edwin Frank’s masterclass at the Seagull School of Publishing, followed in the evening by my conversation with him at the Victoria Memorial (still fretting a little at what I had hoped to talk about but didn’t, I’m afraid). Tuesday it was my turn to lead a school session. As with my first experience last year, I was caught off guard by how quickly the three hours passed and by the engagement of the students. Wednesday was a full day of sightseeing with a new friend, Italian poet Franca Mancinelli who, by coincidence, has been in the city on a residency, and Thursday morning featured a masterclass with conversationalist extraordinaire, Paul Holdengraber. Throughout the week I also had a number of meaningful conversations with Colin Robinson, the co-publisher of OR Books who was staying at the same residence where I was and doing some work with Seagull. Along with many visits to Seagull Books’ new office in their former school space, now newly opened up—a bright, cheery and inspiring creative environment—this was week packed with literary energy.

Now to see if I can carry some of the inspiration and focus I was seeking forward.

In Bangalore tonight, the friend I am staying with remarked on a new sense of perspective, of direction, and perhaps peace. As if India does give me something I need. The one thing it won’t give me is planned time for the two of us to travel, as unexpected circumstances now call him to be with his family. But such is life. This leaves me with a little over a week, and apart from one more overnight journey out of the city, much needed time and solitude to put some perspective to my own writing goals and direction before I return to the distractions and demands of life at home.

Of course, I will be back. India is not finished with me yet. Nor I with her.

The longing to belong: The Moon and the Bonfires by Cesare Pavese

‘I don’t know where I was born. There isn’t a house or a piece of land or any bones in this part of the world about which I could say, “This is what I was before I was born.” I don’t know if I come from the hill or the valley, from the woods or from a house with balconies.’

A foundling raised in poverty in a rural community in northwest Italy, the narrator of The Moon and the Bonfires, has returned, after twenty years away, to the place where he grew up. He has made his fortune in America, but he has come back with mixed emotions and intentions. As he wanders along the roads, past the places where he lived and worked, he is retracing the footsteps of his younger self – barefooted or shod in wooden shoes – over fields, through vineyards, over the tiled floors of his master’s house. A self-made man, a success, he is now seeking to find traces of the world he knew, a world changed, not only by the ravages of time and the upheaval of war, but by something deep within himself. One of the saddest truths of this melancholic novel is that the idea of home and the reality of the place, any place, may never coincide.

BonfiresPavese’s protagonist is an inveterate outsider. His experience of exile is deeply internalized. Known only by his nickname Eel, he is nostalgic for a time when he was a nobody; he longs for a simpler place in the world. He may have been groundless in the place where he grew up, but he was equally groundless in America, unable to settle, continually on the move. Back in Italy now, his foil is Nuto, a childhood friend. Three years his senior, the narrator had idolized this confident, clarinet-playing boy who travelled the region with his band, had a way with the ladies, and was the first to go off to war. Twenty years on they are both grown men. Nuto, who had once seemed so worldly, has inherited his father’s house and carpentry business, and is married with a young family. It is the narrator who has navigated far horizons. One is bound to the destiny he was born to, while the other had to leave to search for his own.

The relationship between Eel and Nuto is complicated. There are currents of envy and resentment that course beneath the surface of their interactions and conversations. Much is left unsaid – the truth behind the protagonist’s decision to set sail and the shocking fate of the beautiful young daughter of the wealthy family with whom Eel spent his teenaged years – are only revealed as the latter’s visit is drawing to a close. Political tensions simmer between the two friends as a consequence of their very different experiences. As corpses surface in fields and streams, the narrator’s alienation from those who stayed and endured the years of Fascist rule and wartime devastation is heightened. After his many years in America, pictured in Pavese’s account as a rather idealized place with its own hard won set of rules, our hero is surprised to find that the superstitions borne of the old country – the power of bonfires to “fatten” the soil, the rule of the moon to govern activities on the farm – are still adhered to with a seriousness he can no longer imagine.

Yet, this is a book not only about returning to the past, it is also a lament for the lost innocence of youth. In an effort to reach into his past, almost in the way that we sometimes fantasize about going back to advise our younger selves, our protagonist becomes attached to Cinto, a crippled young boy who lives with his aunt, grandmother and explosively violent father in the hut where Eel spent his earliest years with the family that first adopted him. In this boy he sees himself and he is struck with a pained nostalgia mixed with a desire to offer Cinto hope of a future, an encouragement to look beyond the nearest horizon. The bond they forge is touching, and becomes central to one of the most intense episodes in the novel.

Moving back and forth between the past and the present, The Moon and the Bonfires unfolds over the course of 32 short chapters. The language is devastatingly spare, contemplative and measured. A wistful beauty plays out against recurring images of harsh brutality, while the rolling hills and the valleys of the regional landscape form a constant and abiding presence. What the narrator cannot find in buildings, towns or people – most of which are irrevocably changed or gone – still exists in the sights, scents and sounds of summer and, as he discovers, it has permeated his very being:

‘There’s a sun on these hills, a reflection from the dry soil and volcanic stone, that I’d forgotten. Instead of coming down from the sky our heat rises from below – from the ground, from the ditch between the vines where every trace of green seems to have been eaten up and turned to dry twigs. I like this heat, I like its smell: there’s something of me in the smell, too, many grape harvests and haymakings and cornhuskings in the autumn, many tastes and desires I didn’t know I still had.’

The persistent longing to belong to a place that underscores this slim, melancholic novel raises questions that are not easily answered. It is not clear that the narrator really knows what he expected to find in coming back. Although he could buy himself land or a house, he is no more capable of making that sort of commitment now than he was during the many years he spent in America. He still has business overseas, although the exact nature of that business is not revealed. If working for his keep from an early age gave him anything, it ingrained in him a deep resourcefulness and resilience that he has been able to exploit to his advantage. But without roots, without knowledge of the people he is connected to in his bones, as he likes to describe it, he has found himself incapable of building solid relationships. He had to leave to find himself, but in the process he may have sacrificed the possibility of ever having a home.

‘One night, under the moon and the black hills, Nuto asked me what it was like to ship out for America, whether I would do it again if I could have twenty years back and another chance. I told him it hadn’t been America so much as my rage at being nobody, a mania not so much to leave as, one fine day, to come home after everyone had given me up for dead.’

The themes of longing and loss that run through The Moon and the Bonfires are likely to reverberate with anyone who wonders what it would feel like to truly feel grounded, to know that you are in the place you are meant to be. I would argue that one can live in the same place for decades and still feel out of synch, groundless. It is less a question of space than of being. These same themes haunt all of Pavese’s work, and never more sharply than in this, the last work he published before taking his life in 1950 at the age of 41.

Cesare Pavese was an Italian poet, novelist and translator. He was, in his lifetime, the pre-eminent Italian translator of American literature, known especially for his translation of Moby Dick. His love of American literature and culture informed his work. This edition from NYRB Classics features the 2002 translation by R. W. Flint and an Introduction by Mark Rudman.