ARTPIL Profiles of the Arts

You walk for days among trees and among stones. Rarely does the eye light on a thing, and then only when it has recognized that thing as the sign of another thing: a print in the sand indicates the tiger’s passage; a marsh announces a vein of water; the hibiscus flower, the end of winter. All the rest is silent and interchangeable; trees and stones are only what they are.

Finally the journey leads to the city of Tamara. You penetrate it along streets thick with signboards jutting from the walls. The eye does not see things but images of things that mean other things: pincers point out the tooth-drawer’s house; a tankard, the tavern; halberds, the barracks; scales, the grocer’s. Statues and shields depict lions, dolphins, towers, stars: a sign that something – who knows what? – has as its sign a lion or a dolphin or a tower or a star. Other signals warn of what is forbidden in a given place (to enter the alley with wagons, to urinate behind the kiosk, to fish with your pole from the bridge) and what is allowed (watering zebras, playing bowls, burning relatives’ corpses). From the doors of the temples the gods’ statues are seen, each portrayed with his attributes – the cornucopia, the hourglass, the medusa – so that the worshiper can recognize them and address his prayers correctly. If a building has no signboard or figure, its very form and the position it occupies in the city’s order suffice to indicate its function: the palace, the prison, the mint, the Pythagorean school, the brothel. The wares, too, which the vendors display on their stalls are valuable not in themselves but as signs of other things: the embroidered headband stands for elegance; the gilded palanquin, power; the volumes of Averroes, learning; the ankle bracelet, voluptuousness. Your gaze scans the streets as if they were written pages: the city says everything you must think, makes you repeat her discourse, and while you believe you are visiting Tamara you are only recording the names with which she defines herself and all her parts.

However the city may really be, beneath this thick coating of signs, whatever it may contain or conceal, you leave Tamara without having discovered it. Outside, the land stretches, empty, to the horizon; the sky opens, with speeding clouds. In the shape that chance and wind give the clouds, you are already intent on recognizing figures: a sailing ship, a hand, an elephant. . . .

– from Invisible Cities / Cities and Signs

    Mondadori

    Italo Calvino
    Journalist / Writer

    Italo Calvino, (born October 15, 1923, Santiago de las Vegas, Cuba – died September 19, 1985, Siena, Italy), Italian journalist, short-story writer, and novelist whose whimsical and imaginative fables made him one of the most important Italian fiction writers in the 20th century.

    Calvino left Cuba for Italy in his youth. He joined the Italian Resistance during World War II and after the war settled in Turin, obtaining his degree in literature while working for the Communist periodical L’Unità and for the publishing house of Einaudi. From 1959 to 1966 he edited, with Elio Vittorini, the left-wing magazine Il Menabò di Letteratura.

    Two of Calvino’s first fictional works were inspired by his participation in the Italian Resistance: the Neorealistic novel Il sentiero dei nidi di ragno (1947; The Path to the Nest of Spiders), which views the Resistance through the experiences of an adolescent as helpless in the midst of events as the adults around him; and the collection of stories entitled Ultimo viene il corvo (1949; Adam, One Afternoon, and Other Stories).

    Among Calvino’s later works of fantasy is Le cosmicomiche (1965; Cosmicomics), a stream-of-consciousness narrative that treats the creation and evolution of the universe. In the later novels Le città invisibili (1972; Invisible Cities), Il castello dei destini incrociate (1973; The Castle of Crossed Destinies), and Se una notte d’inverno un viaggiatore (1979; If on a Winter’s Night a Traveler), Calvino uses playfully innovative structures and shifting viewpoints in order to examine the nature of chance, coincidence, and change.

    [Encyclopaedia Britannica]

    Italo Calvino
    Journalist / Writer

    Italo Calvino, (born October 15, 1923, Santiago de las Vegas, Cuba – died September 19, 1985, Siena, Italy), Italian journalist, short-story writer, and novelist whose whimsical and imaginative fables made him one of the most important Italian fiction writers in the 20th century.

    Calvino left Cuba for Italy in his youth. He joined the Italian Resistance during World War II and after the war settled in Turin, obtaining his degree in literature while working for the Communist periodical L’Unità and for the publishing house of Einaudi. From 1959 to 1966 he edited, with Elio Vittorini, the left-wing magazine Il Menabò di Letteratura.

    Two of Calvino’s first fictional works were inspired by his participation in the Italian Resistance: the Neorealistic novel Il sentiero dei nidi di ragno (1947; The Path to the Nest of Spiders), which views the Resistance through the experiences of an adolescent as helpless in the midst of events as the adults around him; and the collection of stories entitled Ultimo viene il corvo (1949; Adam, One Afternoon, and Other Stories).

    Among Calvino’s later works of fantasy is Le cosmicomiche (1965; Cosmicomics), a stream-of-consciousness narrative that treats the creation and evolution of the universe. In the later novels Le città invisibili (1972; Invisible Cities), Il castello dei destini incrociate (1973; The Castle of Crossed Destinies), and Se una notte d’inverno un viaggiatore (1979; If on a Winter’s Night a Traveler), Calvino uses playfully innovative structures and shifting viewpoints in order to examine the nature of chance, coincidence, and change.

    [Encyclopaedia Britannica]

    You walk for days among trees and among stones. Rarely does the eye light on a thing, and then only when it has recognized that thing as the sign of another thing: a print in the sand indicates the tiger’s passage; a marsh announces a vein of water; the hibiscus flower, the end of winter. All the rest is silent and interchangeable; trees and stones are only what they are.

    Finally the journey leads to the city of Tamara. You penetrate it along streets thick with signboards jutting from the walls. The eye does not see things but images of things that mean other things: pincers point out the tooth-drawer’s house; a tankard, the tavern; halberds, the barracks; scales, the grocer’s. Statues and shields depict lions, dolphins, towers, stars: a sign that something – who knows what? – has as its sign a lion or a dolphin or a tower or a star. Other signals warn of what is forbidden in a given place (to enter the alley with wagons, to urinate behind the kiosk, to fish with your pole from the bridge) and what is allowed (watering zebras, playing bowls, burning relatives’ corpses). From the doors of the temples the gods’ statues are seen, each portrayed with his attributes – the cornucopia, the hourglass, the medusa – so that the worshiper can recognize them and address his prayers correctly. If a building has no signboard or figure, its very form and the position it occupies in the city’s order suffice to indicate its function: the palace, the prison, the mint, the Pythagorean school, the brothel. The wares, too, which the vendors display on their stalls are valuable not in themselves but as signs of other things: the embroidered headband stands for elegance; the gilded palanquin, power; the volumes of Averroes, learning; the ankle bracelet, voluptuousness. Your gaze scans the streets as if they were written pages: the city says everything you must think, makes you repeat her discourse, and while you believe you are visiting Tamara you are only recording the names with which she defines herself and all her parts.

    However the city may really be, beneath this thick coating of signs, whatever it may contain or conceal, you leave Tamara without having discovered it. Outside, the land stretches, empty, to the horizon; the sky opens, with speeding clouds. In the shape that chance and wind give the clouds, you are already intent on recognizing figures: a sailing ship, a hand, an elephant. . . .

    – from Invisible Cities / Cities and Signs