by Umberto Eco
The fog was still, as always, within me, pierced from time to time by the echo of a title.
Poking around haphazardly, I picked out a clothbound album, in landscape format. As soon as I opened it I saw that it was a collection of stamps. Clearly mine, as it bore my name at the beginning, with the date, 1943, when I presumably began collecting. The album seemed almost professionally done, with removable pages, organized alphabetically by country. The stamps were attached with hinges, though some-Italian stamps from those years, the discovery of which on envelopes or postcards may well have inaugurated my philatelic period-were thickened, their backs rough, crusted with something. I deduced that I had started out by attaching them to some cheap notebook using gum arabic. Apparently I had later learned how it was done and had tried to salvage that first draft of a collection by submerging the notebook pages in water. The stamps had come off, but had retained the indelible signs of my foolishness.
That I later learned how it was done was evidenced by a book underneath the album, a copy of Yvert and Tellier’s 1935 catalogue, which I had probably found amid my grandfather’s junk. That catalogue was clearly obsolete for the serious collector of 1943, but evidently it had become precious to me, and I had learned from it not the current prices or latest issues, but the method, the technique of cataloguing.
Where had I obtained stamps in those years? Had my grandfather passed them on to me, or could a person buy envelopes of assorted stamps in stores, as they do today in the stalls between Via Armorari and the Cordusio in Milan? I probably invested all of my scant capital with some stationer in the city, one who specialized in selling to budding collectors, and so those stamps that to me seemed straight from fairy tales represented currency. Or perhaps, in those years of war, with the curtailment of international trade-and domestic, too, eventually-materials of some value found their way onto the market, and at low prices, sold perhaps by some retiree in order to be able to buy butter, a chicken, a pair of shoes.
For me, that album must have been, more than a material object, a receptacle of oneiric images. I was seized with a burning fervor at the sight of each figure. Forget the old atlases. Looking through that album I imagined the clear blue seas, framed in purple, of Deutsch-Ostafrika; I saw the houses of Baghdad, framed by a tangle of Arabian-carpet lines, against a night-green background; I admired a profile of George V, sovereign of the Bermudas, in a pink frame against a blue field; the face of the bearded pasha or sultan or rajah of the Bijawar State-perhaps one of Salgari’s Indian princes-subdued me with its shades of terracotta; certainly the little pea-green rectangle from the Labuan Colony was rich in Salganan echoes; perhaps I was reading about the war that was started over Gdansk as I was handling the wine-colored stamp marked Danzig: on the stamp of the state of Indore, I read FIVE RUPEES in English; I daydreamed about the strange native pirogues outlined against the
purple backdrop of some part of the British Solomon Islands. I invented tales involving a Guatemalan landscape, the Liberian rhinoceros, another primitive boat, which filled a large stamp from Papua (the smaller the state, the larger the stamp, I was learning) and I wondered where Saargebiet was, and Swaziland.
During the years when we seemed to be penned in by insuperable barriers, pinched between two clashing armies, I traveled the wide world through the medium of stamps. When even the train connections were interrupted-when the only way to get to the city from Solara would have been by bicycle-there I was, soaring from the Vatican to Puerto Rico, from China to Andorra.
A new flutter of tachycardia seized me at the sight of two stamps from Fiji (how had I pronounced that name?). They were no prettier or uglier than the others. One showed a native, the other bore a map of the Fiji islands. Perhaps I had gone to great lengths to trade for them and so held them dearer than the others; perhaps I was struck by the map’s precision, like a chart of treasure islands; perhaps I had encountered the unheard-of names of those territories for the first time upon those little rectangles. I seem to recall Paola telling me that I had a fixation: I wanted to go to Fiji someday, and I would scour the travel agency brochures, and then in the end put the trip off because it involved going to the other side of the globe, and to go for less than a month made no sense.
I kept staring at those two stamps, and I began spontaneously to sing a song I had listened to days before: "Up There at Capocabana." And along with the song came back the name Pipetto. What was it that tied the stamps to the song, and the song to the name, just the name, of Pipetto?
The mystery of Solara was that at every turn I would approach a revelation, and then I would come to a stop on the edge of a cliff, the chasm invisible before me in the fog. Like the Gorge, I said to myself. What was the Gorge?
12. Blue Skies Are on the Way
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I asked Amalia if she knew anything about a gorge. "Of course I do," she replied. "The Gorge… I hope you haven’t got it into your head to go there, because it was bad enough when you was little, but now that you’re no spring chicken, you’ll break your neck. Don’t think I won’t call Signora Paola, hmph."
I reassured her. I just wanted to know what it was.
"The Gorge? Just look out your bedroom window, you’ll see that hill far off with a little town sitting on top, that’s San Martino, an itty-bitty town more like it, a village of a hundred souls, nasty people if you want to know, with a bell tower as tall as the town is wide, and they’re always telling stories about how they’ve got the body of Saint Antoninus, which it looks like a carob pod, with a face as black as a cow pie, and fingers that stick out from under his robe like twigs, and my poor pa used to say that a hundred years ago they pulled some nobody out of the ground who already stank, put some who-knows-what on him, and set him up under glass to make a little money off the pilgrims, but nobody ever goes there anyhow, you know what people couldn’t give about Saint Antoninus, which he isn’t even from these parts, they probably picked him by closing their eyes and poking the calendar."
"But the Gorge?"
"The Gorge-well the only way to get to San Martino is a road that goes straight up, which even cars nowadays have a hard time with it. Not one of them roads like decent folk have that winds up the hill and gets to the top eventually. If only. No, it goes straight up, or well-nigh straight, that’s why it’s such a chore. And do you know why? Because on the side where the road goes up, there’s a few trees and vineyards which they had to put in reinforcements to be able to go up there and tend them without sliding down toward the valley on their hind parts, but on every other side it’s like the ground just fell away, a mess of briars and scrub and stones, no place to put your feet, and that’s the Gorge, and folks have even got themselves killed there, took their chances without knowing what a nasty beast it was. And it’s bad enough in the summer, but when the fog sets in, well you’re better off taking a rope and hanging yourself from an attic beam than wandering around the Gorge, at least you’ll die quicker. And then even if you’ve got the stomach for it, there’s hellcats up there."
It was the second time Amalia had spoken of hellcats, but she tried to dodge all my questions about them, and I could not tell whether it was out of reverential awe or because when you came down to it she herself did not know what they were. I gathered they were witches, who looked like solitary old hags but who would gather at night in the steepest vineyards and in blighted places like the Gorge to cast evil spells with black cats, goats, or vipers. Mean as poison, they entertained themselves by cursing whoever crossed them and ruining their harvest.
"One time, one turned herself into a cat and snuck into a house not far from here and carried off a baby. So one of the neighbors, worried sick for his own baby, spent the night by the crib with an axe, and when the cat showed up he chopped one of its paws clean off. Then he had a bad thought and went to the house of an old woman who lived down the road and he saw that there wasn’t any hand sticking out of her sleeve, and he asked how come and she started making excuses, she’d
hurt herself with the sickle cutting weeds, but he said Let me take a look, and she didn’t have a hand. That cat was her, and so the townsfolk took her and burned her."
"Is that true?"
"True or not, that’s how my grandmother used to tell it, even though that one time my grandfather came in shouting Hellcats, hellcats, he was coming home from the tavern with his umbrella over his shoulders, and every now and then someone would grab the handle and wouldn’t let go, but my grandmother said, Hush up you good-for-nothing, yes, that’s what you are, you were soused as a herring and wobbling from one side of the path to the other getting that handle caught in the tree branches, hellcats nothing, and then she thrashed him good. I don’t know if all them yarns are true, but once upon a time there was a priest up in San Martino who could ward off spirits, and like all priests he was a Freemason, and he got along just fine with them hellcats, but if you give money to the church, he’d ward them off and you could rest easy for a year. For a year, see, and then more money."
But the problem with the Gorge, Amalia explained, was that when I was twelve or thirteen, I used to go up there with a band of delinquents like myself to make war on the San Martino kids, trying to surprise them by climbing up that side. If she happened to see me headed that way, she would carry me back home over her shoulders, but I was like a grass snake, and nobody ever knew what hole I had disappeared into.
That must be why, as I was thinking of a cliff and a chasm, the Gorge had come to mind. Though here again, merely the word. By midmorning I was no longer thinking about the Gorge. Someone had called from town, saying that a package was waiting for me. I went down to pick it up. It was from the studio, proofs of the catalogue. I took the opportunity to visit the pharmacist: my pressure was back up to 170. All those emotions in the chapel had done it. I decided to take it easy for the day, and the proofs were a good excuse. As it turned out, it was the proofs themselves that threatened to hike my pressure up to 180, and perhaps did.
The sky was overcast, and it was quite nice in the yard. Stretched out comfortably, I began looking through the proofs. The pages had not yet been laid out, but the text was impeccable. We were going into the fall season with a fine selection of valuable books. Well done, Sibilla.
I was about to skip over what seemed an innocuous edition of the works of Shakespeare, when I balked at the title: Mr. William Shakespeares Comedies, Histories, amp; Tragedies. Published according to the True Originall Copies. I nearly had a heart attack. Beneath the Bard’s portrait, the publishers and the date: "London, Printed by Isaac Iaggard and Ed. Blount. 1623." I checked the collation, the measurements (34.2 by 22.6 centimeters, very generous margins): shiver my timbers, hell’s bells, saccaroa-this was the unobtainable 1623 folio!
Every antiquarian, I think every collector, daydreams at some point about the ninety-year-old lady. A little old lady with one foot in the grave and no money to pay for her medications, who comes to you saying she wants to sell some of her great-grandfather’s books that have been sitting in her cellar. You go to take a look, just to make sure, and find a dozen or so volumes of little value before suddenly noticing a large, poorly bound folio, its parchment cover utterly worn out, its headcaps gone, its joints failing, its corners eaten away by rats, heavily stained. You are struck by the two columns of Gothic script, you count the lines, forty-two, you race to the colophon… It is Gutenberg’s forty-two-line Bible, the first book ever printed in the world. The last copy on the market (the others are all on display in famous libraries) fetched I forget how many millions of dollars-billions of lire-recently at a New York auction, secured, I believe, by some Japanese bankers, who immediately locked it away in a safe. A new copy, still in circulation, would be priceless. You could ask whatever you wanted for it, a gazillion lire.
You look at the little old lady, you know that if you gave her just ten million she would be perfectly happy, but your conscience nags at you: you offer her a hundred, two hundred million, enough to put her back on her feet for the few years she has left. Then naturally, once you get back home, hands trembling, you have no idea what to do. In order to sell the book, you would have to mobilize the great auction houses, and they would take a big chunk of the profits and the other half would go to taxes, so you would prefer to hold on to it, but you could never show it to anyone, because if word got around then half the world’s thieves would be at your door, and what pleasure would there be in having that prodigious thing and not being able to make other collectors green with envy. Forget insurance, the cost would make you faint. What should you do? Loan it to the city, let them keep it, say, in a room in the Castello Sforzesco, under bulletproof glass, with four armed gorillas to guard it day and night? Then if you wanted to look at your book you would have to wade through a crowd of idlers who all want to see the rarest thing in the world up close. And then what do you do, elbow the next guy and say that’s my book? Is it worth it?
It is then that you think not of Gutenberg but of Shakespeare’s first folio. It would bring a few billion less, but it is well known only to collectors, so it would be easier either to keep it or to sell it. The first folio of Shakespeare. Every bibliophile’s number two dream.
How much was Sibilla asking for it? I was dumbstruck: a million, as if it were any old book. Was it possible that she did not know what she had in her hands? And when had it come into the studio, and why had she not said anything? I’ll fire her, I’ll fire her, I murmured furiously.
I called her to ask if she realized what item 85 in the catalogue was. She sounded taken aback: it was seventeenth-century, not much to look at, indeed she was quite pleased to have already sold it, right after she sent me the proofs, for only twenty thousand lire less than the asking price, so now she was taking it out of the catalogue since it was not even the sort of thing you would leave in and mark SOLD, just to show what good pieces you had. I was about to tear into her, when she burst out laughing and told me I should watch my blood pressure.
It was a joke. She had inserted that entry to see if I was reading the proofs carefully, and if my scholarly memory was still in good shape. She laughed impishly, proud of her hoax-which among other things echoed certain celebrated pranks we fanatics like to play, and certain catalogues have themselves become collectible precisely because they offered impossible or nonexistent books and even experts had been fooled.
"Such a practical joker," I finally said, but by now I was lying down. "You’ll pay for that. But the rest of the entries are perfect, no need for me to send them back, I don’t have any corrections. Let’s go forward, thanks."
I relaxed: people do not realize it, but to somebody like me, in the state I am in, even an innocent joke could bring on the big one.
By the time I finished speaking with Sibilla, the sky had turned the color of a bruise: another storm was coming, a real one this time. With the light as it was, I was relieved of the obligation or the temptation to go into the chapel. But the attic would still be lit by the dormers, and I could spend at least an hour browsing there.
I was rewarded with another box, unlabeled, thrown together by my aunt and uncle, full of illustrated magazines. I brought the box downstairs and began leafing through them casually, as one does in a dentist’s office.
I looked at the pictures in some of the movie magazines, lots of actor photos. There were of course Italian films, these, too, utterly and openly schizophrenic: on one hand, propaganda flicks such as The Siege of Alcazar and Luciano Sena, Pilot; on the other, films with gentlemen in tuxedos, dissipated women in snow-white bed jackets, and luxurious decor, such as white telephones beside voluptuous beds-at a time when, I imagine, all phones were still black and attached to walls.
But there were also photos from foreign films, and I felt a few slight twinges of flame on seeing the sensual face of Zarah Leander, or of Kristina Söderbaum from Goldene Stadt.
Last, many stills from American movies-Fred Astaire and Ginger Rogers dancing like dragonflies, the John Wayne of Stagecoach. In the meant
ime I had reactivated what I thought of by now as my radio, hypocritically ignoring the gramophone that made it sing, and I had picked out some records whose titles resonated with me. My God, Fred Astaire was dancing with and kissing Ginger Rogers, but in the same years Pippo Barzizza and his orchestra were playing melodies I knew, because they were a part of everyone’s musical education. It was jazz, no matter how Italianized; the record called "Serenità" was an adaptation of "Mood Indigo," another one that had been pirated as "Con stile" was "In the Mood," and "Tristezze di San Luigi" (Luigi IX or Luigi Gonzaga?) was "St. Louis Blues." None had lyrics, except for the ham-fisted ones of "Tristezze di San Luigi," so as not to give away their very un-Aryan origins.
In short, between jazz, John Wayne, and the chapel comics, my childhood had been spent learning that I was supposed to curse the English and defend myself against the evil Negroes who wanted to defile the Venus de Milo, and at the same time I was lapping up messages from the other side of the ocean.
From the bottom of the box, I plucked a packet of letters and postcards addressed to my grandfather. I wavered for a moment, because it seemed sacrilegious to pry into his personal secrets. Then I told myself that my grandfather was, after all, the recipient, not the author, of those writings, that the authors were others, to whom I owed no consideration.