And so every year the day comes when the workmen remove the marble pediments, lower the stone walls, the cement pylons, take down the Ministry, the monument, the docks, the petroleum refinery, the hospital, load them on trailers, to follow from stand to stand their annual itinerary. Here remains the half-Sophronia of the shooting-galleries and the carousels, the shout suspended from the cart of the headlong roller coaster, and it begins to count the months, the days it must wait before the caravan returns and a complete life can begin again.
TRADING CITIES • 3
WHEN HE ENTERS the territory of which Eutropia is the capital, the traveler sees not one city but many, of equal size and not unlike one another, scattered over a vast, rolling plateau. Eutropia is not one, but all these cities together; only one is inhabited at a time, the others are empty; and this process is carried out in rotation. Now I shall tell you how. On the day when Eutropia’s inhabitants feel the grip of weariness and no one can bear any longer his job, his relatives, his house and his life, debts, the people he must greet or who greet him, then the whole citizenry decides to move to the next city, which is there waiting for them, empty and good as new; there each will take up a new job, a different wife, will see another landscape on opening his window, and will spend his time with different pastimes, friends, gossip. So their life is renewed from move to move, among cities whose exposure or declivity or streams or winds make each site somehow different from the others. Since their society is ordered without great distinctions of wealth or authority, the passage from one function to another takes place almost without jolts; variety is guaranteed by the multiple assignments, so that in the span of a lifetime a man rarely returns to a job that has already been his.
Thus the city repeats its life, identical, shifting up and down on its empty chessboard. The inhabitants repeat the same scenes, with the actors changed; they repeat the same speeches with variously combined accents; they open alternate mouths in identical yawns. Alone, among all the cities of the empire, Eutropia remains always the same. Mercury, god of the fickle, to whom the city is sacred, worked this ambiguous miracle.
CITIES & EYES • 2
IT IS THE MOOD of the beholder which gives the city of Zemrude its form. If you go by whistling, your nose a-tilt behind the whistle, you will know it from below: window sills, flapping curtains, fountains. If you walk along hanging your head, your nails dug into the palms of your hands, your gaze will be held on the ground, in the gutters, the manhole covers, the fish scales, wastepaper. You cannot say that one aspect of the city is truer than the other, but you hear of the upper Zemrude chiefly from those who remember it, as they sink into the lower Zemrude, following every day the same stretches of street and finding again each morning the ill-humor of the day before, encrusted at the foot of the walls. For everyone, sooner or later, the day comes when we bring our gaze down along the drainpipes and we can no longer detach it from the cobblestones. The reverse is not impossible, but it is more rare: and so we continue walking through Zemrude’s streets with eyes now digging into the cellars, the foundations, the wells.
CITIES & NAMES • 1
THERE IS LITTLE I can tell you about Aglaura beyond the things its own inhabitants have always repeated: an array of proverbial virtues, of equally proverbial faults, a few eccentricities, some punctilious regard for rules. Ancient observers, whom there is no reason not to presume truthful, attributed to Aglaura its enduring assortment of qualities, surely comparing them to those of the other cities of their times. Perhaps neither the Aglaura that is reported nor the Aglaura that is visible has greatly changed since then, but what was bizarre has become usual, what seemed normal is now an oddity, and virtues and faults have lost merit or dishonor in a code of virtues and faults differently distributed. In this sense, nothing said of Aglaura is true, and yet these accounts create a solid and compact image of a city, whereas the haphazard opinions which might be inferred from living there have less substance. This is the result: the city that they speak of has much of what is needed to exist, whereas the city that exists on its site, exists less.
So if I wished to describe Aglaura to you, sticking to what I personally saw and experienced, I should have to tell you that it is a colorless city, without character, planted there at random. But this would not be true, either: at certain hours, in certain places along the street, you see opening before you the hint of something unmistakable, rare, perhaps magnificent; you would like to say what it is, but everything previously said of Aglaura imprisons your words and obliges you to repeat rather than say.
Therefore, the inhabitants still believe they live in an Aglaura which grows only with the name Aglaura and they do not notice the Aglaura that grows on the ground. And even I, who would like to keep the two cities distinct in my memory, can speak only of the one, because the recollection of the other, in the lack of words to fix it, has been lost.
“From now on, I’ll describe the cities to you,” the Khan had said, “in your journeys you will see if they exist.”
But the cities visited by Marco Polo were always different from those thought of by the emperor.
“And yet I have constructed in my mind a model city from which all possible cities can be deduced,” Kublai said. “It contains everything corresponding to the norm. Since the cities that exist diverge in varying degree from the norm, I need only foresee the exceptions to the norm and calculate the most probable combinations.”
“I have also thought of a model city from which I deduce all the others,” Marco answered. “It is a city made only of exceptions, exclusions, incongruities, contradictions. If such a city is the most improbable, by reducing the number of abnormal elements, we increase the probability that the city really exists. So I have only to subtract exceptions from my model, and in whatever direction I proceed, I will arrive at one of the cities which, always as an exception, exist. But I cannot force my operation beyond a certain limit: I would achieve cities too probable to be real.”
From the high balustrade of the palace the Great Khan watches his empire grow. First the line of the boundaries had expanded to embrace conquered territories, but the regiments’ advance encountered half-deserted regions, scrubby villages of huts, marshes where the rice refused to sprout, emaciated peoples, dried rivers, reeds. “My empire has grown too far toward the outside. It is time,” the Khan thought, “for it to grow within itself,” and he dreamed of pomegranate groves, the fruit so ripe it burst its skin, zebus browning on the spit and dripping fat, veins of metal surfacing in landslips with glistening nuggets.
Now many seasons of abundance have filled the granaries. The rivers in flood have borne forests of beams to support the bronze roofs of temples and palaces. Caravans of slaves have shifted mountains of serpentine marble across the continent. The Great Khan contemplates an empire covered with cities that weigh upon the earth and upon mankind, crammed with wealth and traffic, overladen with ornaments and offices, complicated with mechanisms and hierarchies, swollen, tense, ponderous.
“The empire is being crushed by its own weight,” Kublai thinks, and in his dreams now cities light as kites appear, pierced cities like laces, cities transparent as mosquito netting, cities like leaves’ veins, cities lined like a hand’s palm, filigree cities to be seen through their opaque and fictitious thickness.
“I shall tell you what I dreamed last night,” he says to Marco. “In the midst of a flat and yellow land, dotted with meteorites and erratic boulders, I saw from a distance the spires of a city rise, slender pinnacles, made in such a way that the moon in her journey can rest now on one, now on another, or sway from the cables of the cranes.”
And Polo says: “The city of your dream is Lalage. Its inhabitants arranged these invitations to rest in the night sky so that the moon would grant everything in the city the power to grow and grow endlessly.”
“There is something you do not know,” the Khan adds. “The grateful moon has granted the city of Lalage a rarer privilege: to grow in lightness.”
> THIN CITIES • 5
IF YOU CHOOSE to believe me, good. Now I will tell how Octavia, the spider-web city, is made. There is a precipice between two steep mountains: the city is over the void, bound to the two crests with ropes and chains and catwalks. You walk on the little wooden ties, careful not to set your foot in the open spaces, or you cling to the hempen strands. Below there is nothing for hundreds and hundreds of feet: a few clouds glide past; farther down you can glimpse the chasm’s bed.
This is the foundation of the city: a net which serves as passage and as support. All the rest, instead of rising up, is hung below: rope ladders, hammocks, houses made like sacks, clothes hangers, terraces like gondolas, skins of water, gas jets, spits, baskets on strings, dumb-waiters, showers, trapezes and rings for children’s games, cable cars, chandeliers, pots with trailing plants.
Suspended over the abyss, the life of Octavia’s inhabitants is less uncertain than in other cities. They know the net will last only so long.
TRADING CITIES • 4
IN ERSILIA, TO establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or gray or black-and-white according to whether they mark a relationship of blood, of trade, authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain.
From a mountainside, camping with their household goods, Ersilia’s refugees look at the labyrinth of taut strings and poles that rise in the plain. That is the city of Ersilia still, and they are nothing.
They rebuild Ersilia elsewhere. They weave a similar pattern of strings which they would like to be more complex and at the same time more regular than the other. Then they abandon it and take themselves and their houses still farther away.
Thus, when traveling in the territory of Ersilia, you come upon the ruins of the abandoned cities, without the walls which do not last, without the bones of the dead which the wind rolls away: spider-webs of intricate relationships seeking a form.
CITIES & EYES • 3
AFTER A SEVEN days’ march through woodland, the traveler directed toward Baucis cannot see the city and yet he has arrived. The slender stilts that rise from the ground at a great distance from one another and are lost above the clouds support the city. You climb them with ladders. On the ground the inhabitants rarely show themselves: having already everything they need up there, they prefer not to come down. Nothing of the city touches the earth except those long flamingo legs on which it rests and, when the days are sunny, a pierced, angular shadow that falls on the foliage.
There are three hypotheses about the inhabitants of Baucis: that they hate the earth; that they respect it so much they avoid all contact; that they love it as it was before they existed and with spyglasses and telescopes aimed downward they never tire of examining it, leaf by leaf, stone by stone, ant by ant, contemplating with fascination their own absence.
CITIES & NAMES • 2
GODS OF TWO species protect the city of Leandra. Both are too tiny to be seen and too numerous to be counted. One species stands at the doors of the houses, inside, next to the coat rack and the umbrella stand; in moves, they follow the families and install themselves in the new home at the consignment of the keys. The others stay in the kitchen, hiding by preference under pots or in the chimney flue or broom closet: they belong to the house, and when the family that has lived there goes away, they remain with the new tenants; perhaps they were already there before the house existed, among the weeds of the vacant lot, concealed in a rusty can; if the house is torn down and a huge block of fifty families is built in its place, they will be found, multiplied, in the kitchens of that many apartments. To distinguish the two species we will call the first one Penates and the other Lares.
Within a given house, Lares do not necessarily stay with Lares, and Penates with Penates: they visit one another, they stroll together on the stucco cornices, on the radiator pipes; they comment on family events; not infrequently they quarrel; but they can also get along peacefully for years – seeing them all in a row, you are unable to tell them apart. The Lares have seen Penates of the most varied origins and customs pass through their walls; the Penates have to make a place for themselves, rubbing elbows with Lares of illustrious, but decaying palaces, full of hauteur, or with Lares from tin shacks, susceptible and distrustful.
The true essence of Leandra is the subject of endless debate. The Penates believe they are the city’s soul, even if they arrived last year; and they believe they take Leandra with them when they emigrate. The Lares consider the Penates temporary guests, importunate, intrusive; the real Leandra is theirs, which gives form to all it contains, the Leandra that was there before all these upstarts arrived and that will remain when all have gone away.
The two species have this in common: whatever happens in the family and in the city, they always criticize. The Penates bring out the old people, the great-grandparents, the great-aunts, the family of the past; the Lares talk about the environment before it was ruined. But this does not mean they live only on memories: they daydream of the careers the children will follow when they grow up (the Penates), or what this house in this neighborhood might become (the Lares) if it were in good hands. If you listen carefully, especially at night, you can hear them in the houses of Leandra, murmuring steadily, interrupting one another, huffing, bantering, amid ironic, stifled laughter.
CITIES & THE DEAD • 1
At Melania, every time you enter the square, you find yourself caught in a dialogue: the braggart soldier and the parasite coming from a door meet the young wastrel and the prostitute; or else the miserly father from his threshold utters his final warnings to the amorous daughter and is interrupted by the foolish servant who is taking a note to the procuress. You return to Melania after years and you find the same dialogue still going on; in the meanwhile the parasite has died, and so have the procuress and the miserly father; but the braggart soldier, the amorous daughter, the foolish servant have taken their places, being replaced in their turn by the hypocrite, the confidante, the astrologer.
Melania’s population renews itself: the participants in the dialogues die one by one and meanwhile those who will take their places are born, some in one role, some in another. When one changes role or abandons the square forever or makes his first entrance into it, there is a series of changes, until all the roles have been reassigned; but meanwhile the angry old man goes on replying to the witty maidservant, the usurer never ceases following the disinherited youth, the nurse consoles the stepdaughter, even if none of them keeps the same eyes and voice he had in the previous scene.
At times it may happen that a sole person will simultaneously take on two or more roles – tyrant, benefactor, messenger – or one role may be doubled, multiplied, assigned to a hundred, a thousand inhabitants of Melania: three thousand for the hypocrite, thirty thousand for the sponger, a hundred thousand king’s sons fallen in low estate and awaiting recognition.
As time passes the roles, too, are no longer exactly the same as before; certainly the action they carry forward through intrigues and surprises leads toward some final denouement, which it continues to approach even when the plot seems to thicken more and more and the obstacles increase. If you look into the square in successive moments, you hear how from act to act the dialogue changes, even if the lives of Melania’s inhabitants are too short for them to realize it.
Marco Polo describes a bridge, stone by stone.
“But which is the stone that supports the bridge?” Kublai Khan asks.
“The bridge is not supported by one stone or another,” Marco answers, “but by the line of the arch that they form.”
Kublai Khan remains silent, reflecting. Then he adds: “Why do you speak to me of the stones? It is only the arch that matters to me.”
Polo answers: “Without stones there is no arch.”
“Did you ever happe
n to see a city resembling this one?” Kublai asked Marco Polo, extending his beringed hand from beneath the silken canopy of the imperial barge, to point to the bridges arching over the canals, the princely palaces whose marble doorsteps were immersed in the water, the bustle of light craft zigzagging, driven by long oars, the boats unloading baskets of vegetables at the market squares, the balconies, platforms, domes, campaniles, island gardens glowing green in the lagoon’s grayness.
The emperor, accompanied by his foreign dignitary, was visiting Kin-sai, ancient capital of deposed dynasties, the latest pearl set in the Great Khan’s crown.
“No, sire,” Marco answered, “I should never have imagined a city like this could exist.”
The emperor tried to peer into his eyes. The foreigner lowered his gaze. Kublai remained silent the whole day.
After sunset, on the terraces of the palace, Marco Polo expounded to the sovereign the results of his missions. As a rule the Great Khan concluded his day savoring these tales with half-closed eyes until his first yawn was the signal for the suite of pages to light the flames that guided the monarch to the Pavilion of the August Slumber. But this time Kublai seemed unwilling to give in to weariness. “Tell me another city,” he insisted.
Invisible Cities (Vintage Classics) Page 4
