Cart(0 items)![]()
![]()
(Paperback - Bargain)
Average Customer Rating:
(6 ratings)
Note: This is a bargain book and quantities are limited. Bargain books are new but may have slight markings from the publisher and/or stickers showing their discounted price. More about bargain books
Yambo, a sixtyish rare-book dealer who lives in Milan, has suffered a loss of memory-he can remember the plot of every book he has ever read, every line of poetry, but he no longer knows his own name, doesn't recognize his wife or his daughters, and remembers nothing about his parents or his childhood. In an effort to retrieve his past, he withdraws to the family home somewhere in the hills between Milan and Turin. There, in the sprawling attic, he searches through boxes of old newspapers, comics, records, photo albums, and adolescent diaries. And so Yambo relives the story of his generation: Mussolini, Catholic education and guilt, Josephine Baker, Flash Gordon, Fred Astaire. His memories run wild, and the life racing before his eyes takes the form of a graphic novel. Yambo struggles through the frames to capture one simple, innocent image: that of his first love.
A fascinating, abundant new novel-wide-ranging, nostalgic, funny, full of heart-from the incomparable Eco.
Guidall gives a polished, Masterpiece Theatre-worthy sheen to Eco's odd, funny tale of Yambo, a man who discovers that while remembering the plots and details of all the books and films he's ever read or seen, he has no recollection of his own life or his name. His sonorous tones are soothing, lending Eco's prose a certain hushed aura, but there is something strangely off about the marriage of the Italian author's intellectual mystery story and Guidall's rolling British cadences. It is as if Guidall's Oxbridge enunciation were thought necessary to gussy up Eco's novel, something it is distinctly not in need of. Overemoting, Guidall turns Yambo into a ham actor rather than a slightly comic figure befuddled by a world full of mysterious and alluring signs. Guidall does do a solid job capturing the quicksilver changes in emotional temperature of the volatile protagonist, who is unable to comprehend the confusing new world he finds himself in. Even in this, though, Guidall is more like an actor professing befuddlement than someone actually finding himself disoriented by his mind's empty spaces. Simultaneous release with Harcourt hardcover (Reviews, Mar. 21). (June) Copyright 2005 Reed Business Information.
More Reviews and RecommendationsFew cultural critics and novelists carry the scholarly heft of Umberto Eco, who was a noted historian and semiotician before he brought these sensibilites to bear on major novels such as The Name of the Rose and Foucault's Pendulum. Whether he is deconstructing modern wax museums or spinning a 13th-century tale, he is always clever, stately and profound.
More About the Author
Number of Reviews: 6
Average Rating:
![]()
Write a Review
Intelligently and elegantly crafted fiction
A reviewer, a writer, 06/16/2007
An older book dealer suddenly and unexpectedly holds in his hands Shakespeare's first folio from 1623 and the shock of the discovery triggers a coma from which the narrator is attempting to recover his memory and re-discover himself. It's an intriguing premise as the book dealer revisits an attic to dig through boxes of his old books to learn what light they can shed on his remembrance of lost time. The books, dating from his childhood, trigger memories of life in Fascist Italy, as he re-learns who he is by what he has already read, including children's tales, religious works, advertising, comic books, paperback novels and war propoganda. I admire the intelligence of Eco, a scholar whose style is fluid, clear, articulate, erudite and engaging. I also admire the translation of the novel, which reads beautifully and flows naturally. This novel seems self-indulgent in places and has a great many cultural and historical references, which will elude readers outside Italy. Of all the works referenced in this novel, there didn't seem to be enough of the real masterpieces here. Perhaps, that's the tragedy that any reader may risk by overcommitting to reading time squandered upon the works of lesser literary lights. By the way, this novel is masterfully illustrated by the publisher. I was intrigued by Eco and am well into Foucault's Pendulum, which is more impressive for the wit and sheer intellectual luminosity of the writing but that's another story for another day. I may well end up giving Eco's list a run for its money, if the rest of his work is as good as these two very fine but not quite great novels. Time spent reading Eco clearly is time well spent.
Visually Stimulating if Nothing Else
Davenger Mendes
(davengermendes@hotmail.com)
, sitting behind someone important, 04/04/2007
I picked this one up with the warning of my friend's experience in mind, that being that he had a difficult time getting past all of Mr. Eco's esoteric references to various pieces of fiction and former pop-culture ephemera. True, those references are there, but what emerges on the surface is a mystery story wherein the detective is also the murder AND the victim. In all, an incredible story, very well put together, though I would contend that it got a bit too preachy toward the end. Those words might have better served in a psychology, or new age text on memory, though again, the illustrations were a joy in themselves, and I enjoy looking back at them even though I have finished the book. I won't argue that it's a classic, nor that if you are a very busy person that it is necessarily worth your time, but you could do worse. Unfortunately, I haven't read any of Mr. Eco's other books, so I am unable to say whether this one holds true to some vein of greatness he might have tapped into, but I'm not turned off on reading his others if that can be construed as any sort of reccomendation.
Also recommended: Edwin Mullhouse by Steven Millhauser
More Customer Reviews
Name:
Umberto Eco
Current Home:
Bologna, Italy
Date of Birth:
January 05, 1932
Place of Birth:
Alessandria, Italy
Education:
Ph.D., University of Turin, 1954
Back in the 1970s, long before the cyberpunk era or the Internet boom, an Italian academic was dissecting the elements of codes, information exchange and mass communication. Umberto Eco, chair of semiotics at the University of Bologna, developed a widely influential theory that continues to inform studies in linguistics, philosophy, anthropology, cultural studies and critical theory.
Most readers, however, had never heard of him before the 1980 publication of The Name of the Rose, a mystery novel set in medieval Italy. Dense with historical and literary allusions, the book was a surprise international hit, selling millions of copies in dozens of languages. Its popularity got an additional boost when it was made into a Hollywood movie starring Sean Connery. Eco followed his first bestseller with another, Foucault's Pendulum, an intellectual thriller that interweaves semiotic theory with a twisty tale of occult texts and world conspiracy.
Since then, Eco has shifted topics and genres with protean agility, producing fiction, academic texts, criticism, humor columns and children's books. As a culture critic, his interests encompass everything from comic books to computer operating systems, and he punctures avant-garde elitism and mass-media vacuity with equal glee.
More recently, Eco has ventured into a new field: ethics. Belief or Nonbelief? is a thoughtful exchange of letters on religion and ethics between Eco and Carlo Maria Martini, the Roman Catholic cardinal of Milan; Five Moral Pieces is a timely exploration of the concept of justice in an increasingly borderless world.
Eco also continues to write books on language, literature and semiotics for both popular and academic audiences. His efforts have netted him a pile of honorary degrees, the French Legion of Honor, and a place among the most widely read and discussed thinkers of our time.
Eco is a professor of semiotics at the University of Bologna, though in 2002 he was at Oxford University as a visiting lecturer. He has also taught at several top universities in the U.S., including Columbia, Harvard, Yale, and Northwestern.
Pressured by his father to become a lawyer, Eco studied law at the University of Turn before abandoning that course (against his father's wishes) and pursuing medieval philosophy and literature.
His studies led naturally to the setting of The Name of the Rose in the medieval period. The original tentative title was Murder in the Abbey.
Just after a matinee of Spider-Man at a Times Square cinema, Umberto Eco crosses Broadway, gesturing expansively and paying absolutely no attention to traffic. As he walks, lit cigarette in hand, he is explaining a key difference between comic book superheroes and the heroes of classic literature he tries to evoke in Baudolino, his latest medieval romp that is already on its way to becoming as great a success in Europe as his 1980 novel, The Name of the Rose, which has sold more than 30 million copies worldwide. Serial heroes like Spider-Man and Superman, Eco says as he blithely ambles across the street, are prohibited from changing; they cannot age or reproduce. He calls them "mythical eunuchs." On the other hand, he says, classic adventurers like Homer's Ulysses and Parzival, the title hero of medieval poet Wolfram Von Eschenbach's epic, are different. Unlike Spider-Man, Eco chuckles bawdily, "Parzival can fuck."
It is this ability to marry high culture and pop culture, the sublime and the profane, the arcane and the commonplace that has endeared Eco to both pointy-headed intellectuals -- who pore over his novels and essays on semiotics delighting in his literary, cultural and historical references -- and everyday readers who have bought millions of copies of The Name of the Rose, Foucault's Pendulum and The Island of the Day Before for the author's humor and deft storytelling. Not every semiotics professor writes a book that gets turned into a movie starring Sean Connery and rejects an offer from director Stanley Kubrick to bring a novel (Foucault's Pendulum) to the screen.
Eco may seem an unlikely candidate for international literary superstardom. He is a professor at the University of Bologna, a postmodern theorist and an author of essays on eighteenth-century philosopher Immanuel Kant and French literary theorist Roland Barthes. He is a man whose fiction gleefully references obscure poet and Burgundian knight Robert de Boron and Kyot, a Provençal poet whose works inspired Von Eschenbach.
Meet Umberto Eco, though, and his popularity makes a lot more sense. For, aside from being a brilliant linguist and academic, Eco reveals himself over the course of one long afternoon spent dining, drinking, smoking and going to the movies to be a man of great humor and appetites, a populist in academic's clothing. "I've always said that I learned the English I know through two sources -- Marvel Comics and Finnegans Wake," Eco says.
It turns out Eco is a huge fan and collector of comic books, enamored of the Incredible Hulk and the Fantastic Four. At a diner, he orders a cheeseburger, says he can't eat the whole thing yet still devours most of it while discussing Little Orphan Annie and T.S. Eliot's "The Wasteland." Then it's off to see Spider-Man. On a street corner near the theater, he smokes a cigarette as he proclaims his love for musicals -- he says the last good one he saw was Cats -- and his disdain for Liza Minnelli. In the lobby just before the previews, he holds court near the snack counter and expounds upon his friendship with Roberto Benigni ("a great reader of Dante," Eco says of the Italian director and star of Life Is Beautiful). He waxes nostalgic for American movies, particularly Stagecoach, Sergeant York and Yankee Doodle Dandy, all of which he discovered as a boy in Italy. Late in the afternoon after Spider-Man, which he enjoyed immensely for its enthusiastic and picturesque depiction of New York City, he takes a seat in the lobby of his hotel, consults his watch and determines that it's time to order a scotch on the rocks. He lights up another smoke and discusses the Phantom and Mandrake the Magician -- whose stories he first discovered through the comics shown to him by American servicemen during the liberation of Italy after World War II -- and then moves on to Connery, who impressed him more for his acting ability than his intellect when Eco visited his trailer on the set of The Name of the Rose ("All he wanted to discuss was football," Eco says).
Baudolino has already been a No. 1 bestseller in Germany, Canada, Brazil, Argentina and Italy, where Eco was born in 1932 (his hometown is Alessandria, and he currently lives in Milan in a house that boasts a 30,000-volume library). And it, more than any of Eco's works, including The Name of the Rose, is key to understanding his appeal. A dizzying escapade through the foundations of modern European history and literature, it chronicles the adventures of the fictional peasant confidante of Emperor Frederick Barbarossa, Baudolino. The character is named for the patron saint of Alessandria who, the author says, is the only saint who never performed a single miracle.
Baudolino witnesses the sacking of Constantinople in 1204 and narrates his numerous adventures: In Paris, he allegedly authored the legendary love letters of Héloîse and Abélard; he helped invent the myth of the Holy Grail; he journeyed to the East to find the mythical ruler Prester John; and he even took time to pen a small portion of what will later become The Name of the Rose. At the beginning of the novel, Baudolino, writing in a language that Eco himself devised, invents an early form of written Italian. The novel is a grand, literary practical joke, written with both great attention to historical detail and an irreverent and deliciously vulgar sense of humor redolent of Joseph Heller, Monty Python and Woody Allen, whose early works Eco once translated into Italian. It is both a fantastical, easy-to-read adventure and a rigorous historical and literary exercise. It is, agrees the author who likens his novels to club sandwiches, "a double-layered story. But it is not necessary that the first-level reader also catches the second level."
One might think that American audiences might not be ready for a novel so caught up in the particularities of medieval European history and literature, filled with what Eco describes as "inside jokes for three people." But those who have underestimated the ability of the author's humor and irreverence to overcome the obscurity of his subject matter have been proven wrong before.
"It is a myth of publishers that people want to read easy things," Eco says. "The most interesting letters I received about The Name of the Rose were from people in the Midwest that maybe didn't understand exactly, but wanted to understand more and who were excited by this picture of a world which was not their own. Every European goes on the streets and sees medieval churches. Not if you live in Indianapolis. The most exciting letters I received were from people in places like that. There are more people than you think who want to have a challenging experience, in which they are obliged to reflect about the past."
After a heart attack, Giambattista "Yambo" Bodini, an aging rare book dealer, awakens in a Milan hospital suffering from retrograde amnesia. He no longer knows his own name; can't recognize his once-beloved wife or daughters; and can't retrieve anything about his childhood or his career. His cardiac event has robbed him of all personal memories, but in a strange reprieve, Yambo retains total recall of every book, magazine, comic strip, movie, and song that he has ever experienced. Returning to the country home where he spent his childhood, he rummages through its paper clutter, searching for some trace of himself. The incomparable imagination of Umberto Eco running at a full, graceful gallop. Highly recommended.
Yambo, a sixtyish rare-book dealer who lives in Milan, has suffered a loss of memory-he can remember the plot of every book he has ever read, every line of poetry, but he no longer knows his own name, doesn't recognize his wife or his daughters, and remembers nothing about his parents or his childhood. In an effort to retrieve his past, he withdraws to the family home somewhere in the hills between Milan and Turin. There, in the sprawling attic, he searches through boxes of old newspapers, comics, records, photo albums, and adolescent diaries. And so Yambo relives the story of his generation: Mussolini, Catholic education and guilt, Josephine Baker, Flash Gordon, Fred Astaire. His memories run wild, and the life racing before his eyes takes the form of a graphic novel. Yambo struggles through the frames to capture one simple, innocent image: that of his first love.
A fascinating, abundant new novel-wide-ranging, nostalgic, funny, full of heart-from the incomparable Eco.
Guidall gives a polished, Masterpiece Theatre-worthy sheen to Eco's odd, funny tale of Yambo, a man who discovers that while remembering the plots and details of all the books and films he's ever read or seen, he has no recollection of his own life or his name. His sonorous tones are soothing, lending Eco's prose a certain hushed aura, but there is something strangely off about the marriage of the Italian author's intellectual mystery story and Guidall's rolling British cadences. It is as if Guidall's Oxbridge enunciation were thought necessary to gussy up Eco's novel, something it is distinctly not in need of. Overemoting, Guidall turns Yambo into a ham actor rather than a slightly comic figure befuddled by a world full of mysterious and alluring signs. Guidall does do a solid job capturing the quicksilver changes in emotional temperature of the volatile protagonist, who is unable to comprehend the confusing new world he finds himself in. Even in this, though, Guidall is more like an actor professing befuddlement than someone actually finding himself disoriented by his mind's empty spaces. Simultaneous release with Harcourt hardcover (Reviews, Mar. 21). (June) Copyright 2005 Reed Business Information.
"An insidiously witty and provocative story" Richard Eder
"The entertaining narrative fairly rips by. Another winner from Eco."
"A head-spinning tour through the corridors of history and popular culture, and one of this sly entertainer's liveliest yet."
"Deeply cerebral, yet remarkably accessible...Eco delights his fans with an intellectual's take on nostalgia.."
Having lost all his memories except for every book and poem he has ever read, rare-books dealer Yambro flees to the old family home to reconstruct his life-which spools by here in graphic-novel format. With a nine-city tour. Copyright 2005 Reed Business Information.
An experience of "retrograde amnesia" stimulates journeys into both the darkened past and the undisclosed future-in the celebrated Italian polymath's fifth erudite doorstopper (Baudolino, 2002, etc.). Sixtyish book dealer Giambattista ("Yambo") Bodoni awakens in a Milan hospital after a heart attack that has erased all memory of his own life while leaving every scrap of every book, comic strip, pop song, movie and the like he has ever experienced perfectly intact. This splendid premise yields rich comedy in early pages that describe Yambo's bemused return to the home and family he no longer recognizes. Complications multiply when his wife Paola (a highly intelligent psychologist) persuades Yambo to retreat to Solaro, the country home owned by his grandfather (also a bookseller), where Yambo spent much of his childhood. Rummaging through old books and newspapers, letters, photographs, school notebooks and other memorabilia, Yambo retrieves details that partially explain his lifelong fascination with the phenomenon of fog and the concept of the "mysterious flame" that, he senses, quickens his imagination-and is "reminded" of Lila Saba, the girl he first loved. Then Eco throws things into another gear, as a "second incident" puts Yambo back in hospital, and into a coma in which his memory returns. We learn how he grew up in "Il Duce's" Italy, forsaking a religious conversion for the promises of sex, and surviving a perilous wartime adventure every bit the equal of his storybook heroes' exploits. Finally, attended by all the figures who graced his reading and dreaming, Yambo prepares himself for his reunion with Lila Saba. This charming story's considerable self-indulgence is largely vitiatedby dozens of wonderful period illustrations, the fun of trying to recognize numerous mangled literary and subliterary quotations, and its protagonist's ebullient (however damaged) sensibility. A head-spinning tour through the corridors of history and popular culture, and one of this sly entertainer's liveliest yet. Author tour
Number of Reviews: 6
Average Rating:
![]()
Write a Review
Intelligently and elegantly crafted fiction
A reviewer, a writer, 06/16/2007
An older book dealer suddenly and unexpectedly holds in his hands Shakespeare's first folio from 1623 and the shock of the discovery triggers a coma from which the narrator is attempting to recover his memory and re-discover himself. It's an intriguing premise as the book dealer revisits an attic to dig through boxes of his old books to learn what light they can shed on his remembrance of lost time. The books, dating from his childhood, trigger memories of life in Fascist Italy, as he re-learns who he is by what he has already read, including children's tales, religious works, advertising, comic books, paperback novels and war propoganda. I admire the intelligence of Eco, a scholar whose style is fluid, clear, articulate, erudite and engaging. I also admire the translation of the novel, which reads beautifully and flows naturally. This novel seems self-indulgent in places and has a great many cultural and historical references, which will elude readers outside Italy. Of all the works referenced in this novel, there didn't seem to be enough of the real masterpieces here. Perhaps, that's the tragedy that any reader may risk by overcommitting to reading time squandered upon the works of lesser literary lights. By the way, this novel is masterfully illustrated by the publisher. I was intrigued by Eco and am well into Foucault's Pendulum, which is more impressive for the wit and sheer intellectual luminosity of the writing but that's another story for another day. I may well end up giving Eco's list a run for its money, if the rest of his work is as good as these two very fine but not quite great novels. Time spent reading Eco clearly is time well spent.
Visually Stimulating if Nothing Else
Davenger Mendes (davengermendes@hotmail.com), sitting behind someone important, 04/04/2007
I picked this one up with the warning of my friend's experience in mind, that being that he had a difficult time getting past all of Mr. Eco's esoteric references to various pieces of fiction and former pop-culture ephemera. True, those references are there, but what emerges on the surface is a mystery story wherein the detective is also the murder AND the victim. In all, an incredible story, very well put together, though I would contend that it got a bit too preachy toward the end. Those words might have better served in a psychology, or new age text on memory, though again, the illustrations were a joy in themselves, and I enjoy looking back at them even though I have finished the book. I won't argue that it's a classic, nor that if you are a very busy person that it is necessarily worth your time, but you could do worse. Unfortunately, I haven't read any of Mr. Eco's other books, so I am unable to say whether this one holds true to some vein of greatness he might have tapped into, but I'm not turned off on reading his others if that can be construed as any sort of reccomendation.
Also recommended: Edwin Mullhouse by Steven Millhauser
A book of lists
S, A reviewer, 10/17/2006
Eco must have challenged himself to see how many lists he could include in one book and how long he could make that book before the reader gives ups and quits. I didn't give up because I kept hoping there would be some wonderful reason for all the hours spent by the author in writing and by me reading. I admit the author is talented/gifted but still I was disappointed.
Also recommended: Unrelated titles but A+ books: McCullough's JOHNSTOWN FLOOD, Gabaldon's OUTLANDER, Lord's DAY OF INFAMY
As entertaining as an action movie.
A reviewer, A reviewer, 11/15/2005
This is Eco's best work. It was thoroughly engaging and enjoyable. A real page turner.
the mysterious flame is the book to read if you've never read an Eco book before
Joel Ortiz (tozoel@yahoo.com), a poet, 06/20/2005
This has got to be the greatest novel from our worlds greatest living writer right now. I loved this novel so much. It was so much funner than his last novel, Baudolino. Where Baudolino bogged you down with questions of faith and playing with legends of the 13th century, where most readers of today would be overwhelmed unless you were a history buff. However MFoQL retells somewhat the same story Eco shares, but this time around chooses the 20th century to retell his tale. This is a great form of meta-fiction. Where you had Borges in the forties making up fictions with fictions that already existed, well Eco is doing the same thing here. Eco has got the fictions of the thirties and forties, comics nonetheless, and recreates them in the last fifty pages or so to recreate a story of his own life. This is great fiction or meta-fiction. I really like Eco's style. This book I read in a matter of days. Once I started I could not stop becuase I wanted to know what the narrator was going to come up with next. The allusions that fill this novel are so ingenius that I found myself laughing out loud several times. And Ecos knack to retell the story of other lesser known books in his one big book is so great. So it was wonderful when he writes about Huysmans novel and retells it, or even when he speaks of Cyrano by Rostand, why, Eco was so good, he made me go out and want to read Cyrano on my own. And the way he brings in Italian history was so wonderful. I did not really know much of Italy in the second world war, but after reading this novel, I knew more than what I was taught in an American high school history course. This is a novel for those that want something different than what is being sold in the bookstores today. It is more accesible than Baudolino, about as fun as name of the rose when it comes to the old manuscripts Eco writes about, (though not as fun as Aristotle's lost book), and even has hints of Foucaults Pendulum when he mentions that he does not know if he just made all this up, that what if life was just a dream and he dreamt up Dante and world war II. A very good summer read from one of the greatest writers in the world, a good book to read first if you have never read any of his books. This is a great introduction to lead any reader to discover his other great labyrinths of the fictitious world.
Also recommended: the Shadow of the Wind by Carlos Zafron Ruiz Ficciones by Jorge Luis Borges Invisible Cities by Italo Calvino
Showing 1-5 Next1. The Cruelest Month
"And what's your name?"
"Wait, it's on the tip of my tongue."
That is how it all began.
I felt as if I had awoke from a long sleep, and yet I was still suspended in a milky gray. Or else I was not awake, but dreaming. It was a strange dream, void of images, crowded with sounds. As if I could not see, but could hear voices that were telling me what I should have been seeing. And they were telling me that I could not see anything yet, only a haziness along the canals where the landscape dissolved. Bruges, I said to myself, I was in Bruges. Had I ever been to Bruges the Dead? Where fog hovers between the towers like incense dreaming? A gray city, sad as a tombstone with chrysanthemums, where mist hangs over the façades like tapestries...
My soul was wiping the streetcar windows so it could drown in the moving fog of the headlamps. Fog, my uncontaminated sister...A thick, opaque fog, which enveloped the noises and called up shapeless phantoms...Finally I came to a vast chasm and could see a colossal figure, wrapped in a shroud, its face the immaculate whiteness of snow. My name is Arthur Gordon Pym.
I was chewing fog. Phantoms were passing, brushing me, melting. Distant bulbs glimmered like will-o'-the-wisps in a graveyard...
Someone is walking by my side, noiselessly, as if in bare feet, walking without heels, without shoes, without sandals. A patch of fog grazes my cheek, a band of drunks is shouting down there, down by the ferry. The ferry? It is not me talking, it is the voices.
The fog comes on little cat feet...There was a fog that seemed to have taken the world away.
Yet every so often itwas as if I had opened my eyes and were seeing flashes. I could hear voices: "Strictly speaking, Signora, it isn't a coma....No, don't think about flat encephalograms, for heaven's sake....There's reactivity...."
Someone was aiming a light into my eyes, but after the light it was dark again. I could feel the puncture of a needle, somewhere. "You see, there's withdrawal..."
Maigret plunges into a fog so dense that he can't even see where he's stepping....The fog teems with human shapes, swarms with an intense, mysterious life. Maigret? Elementary, my dear Watson, there are ten little Indians, and the hound of the Baskervilles vanishes into the fog.
The gray vapor was gradually losing its grayness of tint, the heat of the water was extreme, and its milky hue was more evident than ever...And now we rushed into the embraces of the cataract, where a chasm threw itself open to receive us.
I heard people talking around me, wanted to shout to let them know I was there. There was a continuous drone, as though I were being devoured by celibate machines with whetted teeth. I was in the penal colony. I felt a weight on my head, as if they had slipped the iron mask onto my face. I thought I saw sky blue lights.
"There's asymmetry of the pupillary diameters."
I had fragments of thoughts, clearly I was waking up, but I could not move. If only I could stay awake. Was I sleeping again? Hours, days, centuries?
The fog was back, the voices in the fog, the voices about the fog. Seltsam, im Nebel zu wandern! What language is that? I seemed to be swimming in the sea, I felt I was near the beach but was unable to reach it. No one saw me, and the tide was carrying me away again.
Please tell me something, please touch me. I felt a hand on my forehead. Such relief. Another voice: "Signora, there are cases of patients who suddenly wake up and walk away under their own power."
Someone was disturbing me with an intermittent light, with the hum of a tuning fork. It was as if they had put a jar of mustard under my nose, then a clove of garlic. The earth has the odor of mushrooms.
Other voices, but these from within: long laments of the steam engine, priests shapeless in the fog walking single file toward San Michele in Bosco.
The sky is made of ash. Fog up the river, fog down the river, fog biting the hands of the little match girl. Chance people on the bridges to the Isle of Dogs look into a nether sky of fog, with fog all round them, as if they were up in a balloon and hanging under the brown fog...I had not thought death had undone so many. The odor of train station and soot.
Another light, softer. I seem to hear, through the fog, the sound of bagpipes starting up again on the heath.
Another long sleep, perhaps. Then a clearing, like being in a glass of water and anisette...
He was right in front of me, though I still saw him as a shadow. My head felt muddled, as if I were waking up after having drunk too much. I think I managed to murmur something weakly, as if I were in that moment beginning to talk for the first time: "Posco reposco flagito-do they take the future infinitive? Cujus regio ejus religio...is that the Peace of Augsburg or the Defenestration of Prague?" And then: "Fog too on the Apennine stretch of the Autosole Highway, between Roncobilaccio and Barberino del Mugello..."
He smiled sympathetically. "But now open your eyes all the way and try to look around. Do you know where we are?" Now I could see him better. He was wearing a white-what is it called?-coat. I looked around and was even able to move my head: the room was sober and clean, a few small pieces of pale metal furniture, and I was in bed, with a tube stuck in my arm. From the window, through the lowered blinds, came a blade of sunlight, spring on all sides shines in the air, and in the fields rejoices. I whispered: "We are...in a hospital and you...you're a doctor. Was I sick?"
"Yes, you were sick. I'll explain later. But you've regained consciousness now. That's good. I'm Dr. Gratarolo. Forgive me if I ask you some questions. How many fingers am I holding up?"
"That's a hand and those are fingers. Four of them. Are there four?"
"That's right. And what's six times six?"
"Thirty-six, of course." Thoughts were rumbling through my head, but they came as if of their own accord. "The sum of the areas of the squares...built on the two legs...is equal to the area of the square built on the hypotenuse."
"Well done. I think that's the Pythagorean theorem, but I got a C in math in high school..."
"Pythagoras of Samos. Euclid's elements. The desperate loneliness of parallel lines that never meet."
"Your memory seems to be in excellent condition. And by the way, what's your name?"
That is where I hesitated. And yet I did have it on the tip of my tongue. After a moment I offered the most obvious reply.
"My name is Arthur Gordon Pym."
"That isn't your name."
Of course, Pym was someone else. He did not come back again. I tried to come to terms with the doctor.
"Call me...Ishmael?"
"Your name is not Ishmael. Try harder."
A word. Like running into a wall. Saying Euclid or Ishmael was easy, like saying Jack and Jill went up a hill. Saying who I was, on the other hand, was like turning around and finding that wall. No, not a wall; I tried to explain. "It doesn't feel like something solid, it's like walking through fog."
"What's the fog like?" he asked.
"The fog on the bristling hills climbs drizzling up the sky, and down below the mistral howls and whitens the sea...What's the fog like?"
"You put me at a disadvantage-I'm only a doctor. And besides, this is April, I can't show you any fog. Today's the twenty-fifth of April."
April is the cruelest month."
"I'm not very well read, but I think that's a quotation. You could say that today's the Day of Liberation. Do you know what year this is?"
"It's definitely after the discovery of America..."
"You don't remember a date, any kind of date, before...your reawakening?"
"Any date? Nineteen hundred and forty-five, end of World War Two."
"Not close enough. No, today is the twenty-fifth of April, 1991. You were born, I believe, at the end of 1931, all of which means you're pushing sixty."
"Fifty-nine and a half. Not even."
"Your calculative faculties are in excellent shape. But you have had, how shall I say, an incident. You've come through it alive, and I congratulate you on that. But clearly something is still wrong. A slight case of retrograde amnesia. Not to worry, they sometimes don't last long. But please be so kind as to answer a few more questions. Are you married?"
"You tell me."
"Yes, you're married, to an extremely likable lady named Paola, who has been by your side night and day. Just yesterday evening I insisted she go home, otherwise she would have collapsed. Now that you're awake, I'll call her. But I'll have to prepare her, and before that we need to do a few more tests."
"What if I mistake her for a hat?"
"Excuse me?"
"There was a man who mistook his wife for a hat."
"Oh, the Sacks book. A classic case. I see you're up on your reading. But you don't have his problem, otherwise you'd have already mistaken me for a stove. Don't worry, you may not recognize her, but you won't mistake her for a hat. But back to you. Now then, your name is Giambattista Bodoni. Does that tell you anything?"
Now my memory was soaring like a glider among mountains and valleys, toward a limitless horizon. "Giambattista Bodoni was a famous typographer. But I'm sure that's not me. I could as easily be Napoleon as Bodoni."
"Why did you say Napoleon?"
"Because Bodoni was from the Napoleonic era, more or less. Napoleon Bonaparte, born in Corsica, first consul, marries Josephine, becomes emperor, conquers half of Europe, loses at Waterloo, dies on St. Helena, May 5, 1821, he was as if unmoving."
"I'll have to bring my encyclopedia next time, but from what I remember, your memory is good. Except you don't remember who you are."
"Is that serious?"
"To be honest, it's not so good. But you aren't the first person something like this has happened to, and we'll get through it."
© 2004 RCS Libri S.p.A.
English translation copyright © 2005 by Geoffrey Brock
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.
Requests for permission to make copies of any part of the work should be mailed to the following address: Permissions Department, Harcourt, Inc., 6277 Sea Harbor Drive, Orlando, Florida 32887-6777.
Terms of Use, Copyright, and Privacy Policy
© 1997-2008 Barnesandnoble.com llc