The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of inferno, are not inferno, then make them endure, give them space. –Invisible Cities
Invisible Cities by Italo Calvino is a novel about a conversation between Marco Polo and Kublai Khan. Calvino’s fragmentary study of urban images is composed of brief prose poems, structured as the traveler’s report on the emperor’s expanding empire. And even deeper than that, it becomes a question of whether Polo is creating his reports from his imagination or merely describing his native city, Venice. A tapestry of discussion weaves throughout Polo’s poems tying in ruminations on stories, linguistics, and human nature.
…the people who move through the streets are all strangers. At each encounter, they imagine a thousand things about one another; meetings which could take place between them, conversations, surprises, caresses, bites. But no one greets anyone; eyes lock for a second, then dart away, seeking other eyes, never stopping… something runs among them, an exchange of glances like lines that connect one figure with another and draw arrows, stars, triangles, until all combinations are used up in a moment, and other characters come on to the scene…. –Invisible Cities
Join us as we discuss this beautiful novel, as Cezary notes of Calvino’s distortions, “that in an exact description there is a destruction of the thing described…[that] in leaving space for the reader to chart out what they’re thinking is [his] goal In a work like this,” and Nathan’s reflection that “there’s a reality here but it’s also something spiritual or emotional… I love this style of writing because of what it makes you feel and understand,” while Mary observes that “in describing the relationship with a city as a love affair, it gives it a sense of urgency and closeness,” and Laura wonders if this novel falls into the postmodern construct of eliminating the artist from the work.
*Note: Mary had to leave early to fight a cold and Daniel was absent this time, reprogramming the internet.
Thanks to Christopher Nolen for the music.