Мы легко принимаем действительность, может быть, потому, что интуитивно чувствуем: ничто реально не существует.
Хорхе Луис Борхес, “Бессмертный”
Всё взаимосвязано.
Томас Пинчон, “Радуга тяготения”
Есть теория, согласно которой в том случае, если кто-то точно выяснит, для чего и зачем появилась Вселенная, она тут же исчезнет, и ее заменит нечто другое, еще более бессмысленное и необъяснимое.
Есть другая теория, согласно которой это уже произошло.
Дуглас Адамс, “Ресторан на краю Вселенной”
Мы легко принимаем действительность, может быть, потому, что интуитивно чувствуем: ничто реально не существует.
Хорхе Луис Борхес, “Бессмертный”
Всё взаимосвязано.
Томас Пинчон, “Радуга тяготения”
Есть теория, согласно которой в том случае, если кто-то точно выяснит, для чего и зачем появилась Вселенная, она тут же исчезнет, и ее заменит нечто другое, еще более бессмысленное и необъяснимое.
Есть другая теория, согласно которой это уже произошло.
Дуглас Адамс, “Ресторан на краю Вселенной”
занимательное пособие по экспериментальной философии
Italo Calvino
Invisible Cities
Illustrated by MidJourney AI
Kublai Khan does not necessarily believe everything Marco Polo says when he describes the cities visited on his expeditions, but the emperor of the Tartars does continue listening to the young Venetian with greater attention and curiosity than he shows any other messenger or explorer of his. In the lives of emperors there is a moment which follows pride in the boundless extension of the territories we have conquered, and the melancholy and relief of knowing we shall soon give up any thought of knowing and understanding them. There is a sense of emptiness that comes over us at evening, with the odor of the elephants after the rain and the sandalwood ashes growing cold in the braziers, a dizziness that makes rivers and mountains tremble on the fallow curves of the planispheres where they are portrayed, and rolls up, one after the other, the despatches announcing to us the collapse of the last enemy troops, from defeat to defeat, and flakes the wax of the seals of obscure kings who beseech our armies’ protection, offering in exchange annual tributes of precious metals, tanned hides, and tortoise shell. It is the desperate moment when we discover that this empire, which had seemed to us the sum of all wonders, is an endless, formless ruin, that corruption’s gangrene has spread too far to be healed by our scepter, that the triumph over enemy sovereigns has made us the heirs of their long undoing. Only in Marco Polo’s accounts was Kublai Khan able to discern, through the walls and towers destined to crumble, the tracery of a pattern so subtle it could escape the termites’ gnawing.
CITIES & MEMORY • 1
LEAVING THERE AND proceeding for three days toward the east, you reach Diomira, a city with sixty silver domes, bronze statues of all the gods, streets paved with lead, a crystal theater, a golden cock that crows each morning on a tower. All these beauties will already be familiar to the visitor, who has seen them also in other cities. But the special quality of this city for the man who arrives there on a September evening, when the days are growing shorter and the multicolored lamps are lighted all at once at the doors of the food stalls and from a terrace a woman’s voice cries ooh!, is that he feels envy toward those who now believe they have once before lived an evening identical to this and who think they were happy, that time.
CITIES & MEMORY • 2
WHEN A MAN rides a long time through wild regions he feels the desire for a city. Finally he comes to Isidora, a city where the buildings have spiral staircases encrusted with spiral seashells, where perfect telescopes and violins are made, where the foreigner hesitating between two women always encounters a third, where cockfights degenerate into bloody brawls among the bettors. He was thinking of all these things when he desired a city. Isidora, therefore, is the city of his dreams: with one difference. The dreamed-of city contained him as a young man; he arrives at Isidora in his old age. In t
he square there is the wall where the old men sit and watch the young go by; he is seated in a row with them. Desires are already memories.
CITIES & DESIRE • 1
THERE ARE TWO ways of describing the city of Dorothea: you can say that four aluminum towers rise from its walls flanking seven gates with spring-operated drawbridges that span the moat whose water feeds four green canals which cross the city, dividing it into nine quarters, each with three hundred houses and seven hundred chimneys. And bearing in mind that the nubile girls of each quarter marry youths of other quarters and their parents exchange the goods that each family holds in monopoly – bergamot, sturgeon roe, astrolabes, amethysts – you can then work from these facts until you learn everything you wish about the city in the past, present, and future. Or else you can say, like the camel driver who took me there: “I arrived here in my first youth, one morning, many people were hurrying along the streets toward the market, the women had fine teeth and looked you straight in the eye, three soldiers on a platform played the trumpet, and all around wheels turned and colored banners fluttered in the wind. Before then I had known only the desert and the caravan routes. In the years that followed, my eyes returned to contemplate the desert expanses and the caravan routes; but now I know this path is only one of the many that opened before me on that morning in Dorothea.”
CITIES & MEMORY • 3
IN VAIN, GREAT-hearted Kublai, shall I attempt to describe Zaira, city of high bastions. I could tell you how many steps make up the streets rising like stairways, and the degree of the arcades’ curves, and what kind of zinc scales cover the roofs; but I already know this would be the same as telling you nothing. The city does not consist of this, but of relationships between the measurements of its space and the events of its past: the height of a lamppost and the distance from the ground of a hanged usurper’s swaying feet; the line strung from the lamppost to the railing opposite and the festoons that decorate the course of the queen’s nuptial procession; the height of that railing and the leap of the adulterer who climbed over it at dawn; the tilt of a guttering and a cat’s progress along it as he slips into the same window; the firing range of a gunboat which has suddenly appeared beyond the cape and the bomb that destroys the guttering; the rips in the fish net and the three old men seated on the dock mending nets and telling each other for the hundredth time the story of the gunboat of the usurper, who some say was the queen’s illegitimate son, abandoned in his swaddling clothes there on the dock.
CITIES & DESIRE • 2
AT THE END of three days, moving southward, you come upon Anastasia, a city with concentric canals watering it and kites flying over it. I should now list the wares that can profitably be bought here: agate, onyx, chrysoprase, and other varieties of chalcedony; I should praise the flesh of the golden pheasant cooked here over fires of seasoned cherry wood and sprinkled with much sweet marjoram; and tell of the women I have seen bathing in the pool of a garden and who sometimes – it is said – invite the stranger to disrobe with them and chase them in the water. But with all this, I would not be telling you the city’s true essence; for while the description of Anastasia awakens desires one at a time only to force you to stifle them, when you are in the heart of Anastasia one morning your desires waken all at once and surround you. The city appears to you as a whole where no desire is lost and of which you are a part, and since it enjoys everything you do not enjoy, you can do nothing but inhabit this desire and be content. Such is the power, sometimes called malignant, sometimes benign, that Anastasia, the treacherous city, possesses; if for eight hours a day you work as a cutter of agate, onyx, chrysoprase, your labor which gives form to desire takes from desire its form, and you believe you are enjoying Anastasia wholly when you are only its slave.
CITIES & SIGNS • 1
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. . . .
CITIES & MEMORY • 4
BEYOND SIX RIVERS and three mountain ranges rises Zora, a city that no one, having seen it, can forget. But not because, like other memorable cities, it leaves an unusual image in your recollections. Zora has the quality of remaining in your memory point by point, in its succession of streets, of houses along the streets, and of doors and windows in the houses, though nothing in them possesses a special beauty or rarity. Zora’s secret lies in the way your gaze runs over patterns following one another as in a musical score where not a note can be altered or displaced. The man who knows by heart how Zora is made, if he is unable to sleep at night, can imagine he is walking along the streets and he remembers the order by which the copper clock follows the barber’s striped awning, then the fountain with the nine jets, the astronomer’s glass tower, the melon vendor’s kiosk, the statue of the hermit and the lion, the Turkish bath, the café at the corner, the alley that leads to the harbor. This city which cannot be expunged from the mind is like an armature, a honeycomb in whose cells each of us can place the things he wants to remember: names of famous men, virtues, numbers, vegetable and mineral classifications, dates of battles, constellations, parts of speech. Between each idea and each point of the itinerary an affinity or a contrast can be established, serving as an immediate aid to memory. So the world’s most learned men are those who have memorized Zora.
But in vain I set out to visit the city: forced to remain motionless and always the same, in order to be more easily remembered, Zora has languished, disintegrated, disappeared.
The earth has forgotten her.
CITIES & DESIRE • 3
DESPINA CAN BE reached in two ways: by ship or by camel. The city displays one face to the traveler arriving overland and a different one to him who arrives by sea.
When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red wind-socks flapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert, a windjammer about to cast off, with the breeze already swelling the sails, not yet unfurled, or a steamboat with its boiler vibrating in the iron keel; and he thinks of all the ports, the foreign merchandise the cranes unload on the docks, the taverns where crews of different flags break bottles over one another’s heads, the lighted, ground-floor windows, each with a woman combing her hair.
In the coastline’s haze, the sailor discerns the form of a camel’s withers, an embroidered saddle with glittering fringe between two spotted humps, advancing and swaying; he knows it is a city, but he thinks of it as a camel from whose pack hang wineskins and bags of candied fruit, date wine, tobacco leaves, and already he sees himself at the head of a long caravan taking him away from the desert of the sea, toward oases of fresh water in the palm trees’ jagged shade, toward palaces of thick, whitewashed walls, tiled courts where girls are dancing barefoot, moving their arms, half-hidden by their veils, and half-revealed.
Each city receives its form from the desert it opposes; and so the camel driver and the sailor see Despina, a border city between two deserts.
CITIES & SIGNS • 1
TRAVELERS RETURN FROM the city of Zirma with distinct memories: a blind black man shouting in the crowd, a lunatic teetering on a skyscraper’s cornice, a girl walking with a puma on a leash. Actually many of the blind men who tap their canes on Zirma’s cobblestones are black; in every skyscraper there is someone going mad; all lunatics spend hours on cornices; there is no puma that some girl does not raise, as a whim. The city is redundant: it repeats itself so that something will stick in the mind.
I too am returning from Zirma: my memory includes dirigibles flying in all directions, at window level; streets of shops where tattoos are drawn on sailors’ skin; underground trains crammed with obese women suffering from the humidity. My traveling companions, on the other hand, swear they saw only one dirigible hovering among the city’s spires, only one tattoo artist arranging needles and inks and pierced patterns on his bench, only one fat woman fanning herself on a train’s platform. Memory is redundant: it repeats signs so that the city can begin to exist.
THIN CITIES • 1
ISAURA, CITY OF the thousand wells, is said to rise over a deep, subterranean lake. On all sides, wherever the inhabitants dig long vertical holes in the ground, they succeed in drawing up water, as far as the city extends, and no farther. Its green border repeats the dark outline of the buried lake; an invisible landscape conditions the visible one; everything that moves in the sunlight is driven by the lapping wave enclosed beneath the rock’s calcareous sky.
Consequently two forms of religion exist in Isaura.
The city’s gods, according to some people, live in the depths, in the black lake that feeds the underground streams. According to others, the gods live in the buckets that rise, suspended from a cable, as they appear over the edge of the wells, in the revolving pulleys, in the windlasses of the norias, in the pump handles, in the blades of the windmills that draw the water up from the drillings, in the trestles that support the twisting probes, in the reservoirs perched on stilts over the roofs, in the slender arches of the aqueducts, in all the columns of water, the vertical pipes, the plungers, the drains, all the way up to the weathercocks that surmount the airy scaffoldings of Isaura, a city that moves entirely upward.
