You pass adolescence and enter the world of adult literature. At first, you read anything and everything that found its way to your hands; then, slowly you begin discovering your own, unique literary taste, and you become selective. The more you read, the more selective you become. Your list of favorite authors and genres grows; you find literary voices that speak directly to your soul. By now, you have reached mid age, and you have over two decades of serious reading under your belt. Any new book that you open, any new author that you discover is judged against your favorites, against the voices that stimulated your mind over the years. Words and phrases are judged against those that provided comfort when you felt down; ideas and executions are compared against the benchmarks established over the years. You think you know what you like; you think you know what to expect. Well, perhaps you do. New books come along, and some attempt to quietly sneak in to your consciousness, while others attempt to shatter your world. Most, if not all, pale with your favorites, do not fit with your ideas, or leave you cold.
Then, one day, you come across a gently used book. It’s small, it looks interesting, and you buy it. That book manages to get under your skin in a very inconspicuous way, without you even noticing. Such was my encounter with Invisible Cities (Hartcourt Brace & Company, 165 Pages).
My first Italo Calvino. He arrived on the heels of Bolaño, Borges, Ungar, and Girondo. Good company, you might say. I say no. Bolaño left me lukewarm—I was expecting more. Borges blew my mind—but only temporarily—he is amazing, but very systematic. Ungar was great—while reading him. Girondo was thought-provoking—entertaining but not mind-altering.
Calvino managed to deliver where all of the above failed. He did not force his way to me, he came unsuspected, veiled in beautiful prose. All of the aforementioned authors wrote fine literature, amazing actually. Yet, they were all “in your face” at times. Calvino is like a spy who sneaks in under the cover of darkness. And here comes the strangest part: I haven’t even noticed.
To be honest, I cannot quite describe what kind of book is Invisible Cities. At first, I thought I knew. Then I thought I did not know, then I thought I knew again, and, in the end, I was reminded that I did not know.
The book is simply beautiful. It is irrelevant and relevant at the same time, pointless and necessary at other times, while remaining non-contradictory. Does this make sense? I thought so.
To me, Invisible Cities is not a single book, but three separate books. The first one is a wonderful study of humanity. These are the cities that reflect human behavior, the cities that serve as metaphor for greed, anger, vanity, et cetera.
The second book is a book of cautionary tales. These are the cities that tell a story, a story of what will happen if we, as humans, do not change our ways.
The third book is a book of philosophy. These are the cities as metaphors for mortality, actions and consequences, continuity, faith… To this book also belong the conversations between Marco Polo and Kublai Khan, for these are truly philosophical.
Then again, I am probably wrong on all counts. One thing is certain, and that is the undeniable truth that Italo Calvino was an amazing writer. His prose is magical.
So now, after more than two decades of reading what I consider to be quality literature, I have to shuffle my mental shelf and make room for Calvino, right next to my all-time favorites where he belongs.
–Henry Martin, author of Mad Days of Me: Escaping Barcelona, 2012 (2nd edition)
KUBLAI: I do not know when you have had the time to visit all the countries you describe to me. It seems to me that 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.
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.
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.
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.
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.