CITIES & THE SKY • 3
THOSE WHO ARRIVE at Thekla can see little of the city, beyond the plank fences, the sackcloth screens, the scaffoldings, the metal armatures, the wooden catwalks hanging from ropes or supported by sawhorses, the ladders, the trestles. If you ask, “Why is Thekla’s construction taking such a long time?” the inhabitants continue hoisting sacks, lowering leaded strings, moving long brushes up and down, as they answer, “So that its destruction cannot begin.” And if asked whether they fear that, once the scaffoldings are removed, the city may begin to crumble and fall to pieces, they add hastily, in a whisper, “Not only the city.”
If, dissatisfied with the answers, someone puts his eye to a crack in a fence, he sees cranes pulling up other cranes, scaffoldings that embrace other scaffoldings, beams that prop up other beams. “What meaning does your construction have?” he asks. “What is the aim of a city under construction unless it is a city? Where is the plan you are following, the blueprint?”
“We will show it to you as soon as the working day is over; we cannot interrupt our work now,” they answer.
Work stops at sunset. Darkness falls over the building site. The sky is filled with stars. “There is the blueprint,” they say.
CONTINUOUS CITIES • 2
IF ON ARRIVING at Trude I had not read the city’s name written in big letters, I would have thought I was landing at the same airport from which I had taken off. The suburbs they drove me through were no different from the others, with the same little greenish and yellowish houses. Following the same signs we swung around the same flower beds in the same squares. The downtown streets displayed goods, packages, signs that had not changed at all. This was the first time I had come to Trude, but I already knew the hotel where I happened to be lodged; I had already heard and spoken my dialogues with the buyers and sellers of hardware; I had ended other days identically, looking through the same goblets at the same swaying navels.
Why come to Trude? I asked myself. And I already wanted to leave.
“You can resume your flight whenever you like,” they said to me, “but you will arrive at another Trude, absolutely the same, detail by detail. The world is covered by a sole Trude which does not begin and does not end. Only the name of the airport changes.”
HIDDEN CITIES • 1
IN OLINDA, IF you go out with a magnifying glass and hunt carefully, you may find somewhere a point no bigger than the head of a pin which, if you look at it slightly enlarged, reveals within itself the roofs, the antennas, the skylights, the gardens, the pools, the streamers across the streets, the kiosks in the squares, the horse-racing track. That point does not remain there: a year later you will find it the size of half a lemon, then as large as a mushroom, then a soup plate. And then it becomes a full-size city, enclosed within the earlier city: a new city that forces its way ahead in the earlier city and presses it toward the outside.
Olinda is certainly not the only city that grows in concentric circles, like tree trunks which each year add one more ring. But in other cities there remains, in the center, the old narrow girdle of the walls from which the withered spires rise, the towers, the tiled roofs, the domes, while the new quarters sprawl around them like a loosened belt. Not Olinda: the old walls expand bearing the old quarters with them, enlarged, but maintaining their proportions on a broader horizon at the edges of the city; they surround the slightly newer quarters, which also grew up on the margins and became thinner to make room for still more recent ones pressing from inside; and so, on and on, to the heart of the city, a totally new Olinda which, in its reduced dimensions retains the features and the flow of lymph of the first Olinda and of all the Olindas that have blossomed one from the other; and within this innermost circle there are already blossoming – though it is hard to discern them – the next Olinda and those that will grow after it.
. . . The Great Khan tried to concentrate on the game: but now it was the game’s reason that eluded him. The end of every game is a gain or a loss: but of what? What were the real stakes? At checkmate, beneath the foot of the king, knocked aside by the winner’s hand, nothingness remains: a black square, or a white one. By disembodying his conquests to reduce them to the essential, Kublai had arrived at the extreme operation: the definitive conquest, of which the empire’s multiform treasures were only illusory envelopes; it was reduced to a square of planed wood.
Then Marco Polo spoke: “Your chessboard, sire, is inlaid with two woods: ebony and maple. The square on which your enlightened gaze is fixed was cut from the ring of a trunk that grew in a year of drought: you see how its fibers are arranged? Here a barely hinted knot can be made out: a bud tried to burgeon on a premature spring day, but the night’s frost forced it to desist.”
Until then the Great Khan had not realized that the foreigner knew how to express himself fluently in his language, but it was not this fluency that amazed him.
“Here is a thicker pore: perhaps it was a larvum’s nest; not a woodworm, because, once born, it would have begun to dig, but a caterpillar that gnawed the leaves and was the cause of the tree’s being chosen for chopping down . . . This edge was scored by the wood carver with his gouge so that it would adhere to the next square, more protruding. . . . ”
The quantity of things that could be read in a little piece of smooth and empty wood overwhelmed Kublai; Polo was already talking about ebony forests, about rafts laden with logs that come down the rivers, of docks, of women at the windows. . . .
The Great Khan owns an atlas where all the cities of the empire and the neighboring realms are drawn, building by building and street by street, with walls, rivers, bridges, harbors, cliffs. He realizes that from Marco Polo’s tales it is pointless to expect news of those places, which for that matter he knows well: how at Kambalu, capital of China, three square cities stand one within the other, each with four temples and four gates that are opened according to the seasons; how on the island of Java the rhinoceros rages, charging, with his murderous horn; how pearls are gathered on the ocean bed off the coasts of Malabar.
Kublai asks Marco, “When you return to the West, will you repeat to your people the same tales you tell me?”
“I speak and speak,” Marco says, “but the listener retains only the words he is expecting. The description of the world to which you lend a benevolent ear is one thing; the description that will go the rounds of the groups of stevedores and gondoliers on the street outside my house the day of my return is another; and yet another, that which I might dictate late in life, if I were taken prisoner by Genoese pirates and put in irons in the same cell with a writer of adventure stories. It is not the voice that commands the story: it is the ear.
“At times I feel your voice is reaching me from far away, while I am prisoner of a gaudy and unlivable present, where all forms of human society have reached an extreme of their cycle and there is no imagining what new forms they may assume. And I hear, from your voice, the invisible reasons which make cities live, through which perhaps, once dead, they will come to life again.”
The Great Khan owns an atlas whose drawings depict the terrestrial globe all at once and continent by continent, the borders of the most distant realms, the ships’ routes, the coastlines, the maps of the most illustrious metropolises and of the most opulent ports. He leafs through the maps before Marco Polo’s eyes to put his knowledge to the test. The traveler recognizes Constantinople in the city which from three shores dominates a long strait, a narrow gulf, and an enclosed sea; he remembers that Jerusalem is set on two hills, of unequal height, facing each other; he has no hesitation in pointing to Samarkand and its gardens.
For other cities he falls back on descriptions handed down by word of mouth, or he guesses on the basis of scant indications: and so Granada, the streaked pearl of the caliphs; Lübeck, the neat, boreal port; Timbuktu, black with ebony and white with ivory; Paris, where millions of men come home every day grasping a wand of bread. In colored miniatures the atlas depicts inhabited places of unusual f
orm: an oasis hidden in a fold of the desert from which only palm crests peer out is surely Nefta; a castle amid quicksands and cows grazing in meadows salted by the tides can only suggest Mont-Saint-Michel; and a palace that instead of rising within a city’s walls contains within its own walls a city can only be Urbino.
The atlas depicts cities which neither Marco nor the geographers know exist or where they are, though they cannot be missing among the forms of possible cities: a Cuzco on a radial and multipartite plan which reflects the perfect order of its trade, a verdant Mexico on the lake dominated by Montezuma’s palace, a Novgorod with bulb-shaped domes, a Lhassa whose white roofs rise over the cloudy roof of the world. For these, too, Marco says a name, no matter which, and suggests a route to reach them. It is known that names of places change as many times as there are foreign languages; and that every place can be reached from other places, by the most various roads and routes, by those who ride, or drive, or row, or fly.
“I think you recognize cities better on the atlas than when you visit them in person,” the emperor says to Marco, snapping the volume shut.
And Polo answers, ‘Traveling, you realize that differences are lost: each city takes to resembling all cities, places exchange their form, order, distances, a shapeless dust cloud invades the continents. Your atlas preserves the differences intact: that assortment of qualities which are like the letters in a name.”
The Great Khan owns an atlas in which are gathered the maps of all the cities: those whose walls rest on solid foundations, those which fell in ruins and were swallowed up by the sand, those that will exist one day and in whose place now only hares’ holes gape.
Marco Polo leafs through the pages; he recognizes Jericho, Ur, Carthage, he points to the landing at the mouth of the Scamander where the Achaean ships waited for ten years to take the besiegers back on board, until the horse nailed together by Ulysses was dragged by windlasses through the Scaean gates. But speaking of Troy, he happened to give the city the form of Constantinople and foresee the siege which Mohammed would lay for long months until, astute as Ulysses, he had his ships drawn at night up the streams from the Bosporus to the Golden Horn, skirting Pera and Galata. And from the mixture of those two cities a third emerged, which might be called San Francisco and which spans the Golden Gate and the bay with long, light bridges and sends open trams climbing its steep streets, and which might blossom as capital of the Pacific a millennium hence, after the long siege of three hundred years that would lead the races of the yellow and the black and the red to fuse with the surviving descendants of the whites in an empire more vast than the Great Khan’s.
The atlas has these qualities: it reveals the form of cities that do not yet have a form or a name. There is the city in the shape of Amsterdam, a semicircle facing north, with concentric canals – the princes’, the emperor’s, the nobles’; there is the city in the shape of York, set among the high moors, walled, bristling with towers; there is the city in the shape of New Amsterdam known also as New York, crammed with towers of glass and steel on an oblong island between two rivers, with streets like deep canals, all of them straight, except Broadway.
The catalogue of forms is endless: until every shape has found its city, new cities will continue to be born. When the forms exhaust their variety and come apart, the end of cities begins. In the last pages of the atlas there is an outpouring of networks without beginning or end, cities in the shape of Los Angeles, in the shape of Kyōto-Ōsaka, without shape.
CITIES & THE DEAD • 5
LIKE LAUDOMIA, EVERY city has at its side another city whose inhabitants are called by the same names: it is the Laudomia of the dead, the cemetery. But Laudomia’s special faculty is that of being not only double, but triple; it comprehends, in short, a third Laudomia, the city of the unborn.
The properties of the double city are well known. The more the Laudomia of the living becomes crowded and expanded, the more the expanse of tombs increases beyond the walls. The streets of the Laudomia of the dead are just wide enough to allow the gravedigger’s cart to pass, and many windowless buildings look out on them; but the pattern of the streets and the arrangement of the dwellings repeat those of the living Laudomia, and in both, families are more and more crowded together, in compartments crammed one above the other. On fine afternoons the living population pays a visit to the dead and they decipher their own names on their stone slabs: like the city of the living, this other city communicates a history of toil, anger, illusions, emotions; only here all has become necessary, divorced from chance, categorized, set in order. And to feel sure of itself, the living Laudomia has to seek in the Laudomia of the dead the explanation of itself, even at the risk of finding more there, or less: explanations for more than one Laudomia, for different cities that could have been and were not, or reasons that are incomplete, contradictory, disappointing.
Rightly, Laudomia assigns an equally vast residence to those who are still to be born. Naturally the space is not in proportion to their number, which is presumably infinite, but since the area is empty, surrounded by an architecture all niches and bays and grooves, and since the unborn can be imagined of any size, big as mice or silkworms or ants or ants’ eggs, there is nothing against imagining them erect or crouching on every object or bracket that juts from the walls, on every capital or plinth, lined up or dispersed, intent on the concerns of their future life, and so you can contemplate in a marble vein all Laudomia of a hundred or a thousand years hence, crowded with multitudes in clothing never seen before, all in eggplant-colored barracans, for example, or with turkey feathers on their turbans, and you can recognize your own descendants and those of other families, friendly or hostile, of debtors and creditors, continuing their affairs, revenges, marrying for love or for money. The living of Laudomia frequent the house of the unborn to interrogate them: footsteps echo beneath the hollow domes; the questions are asked in silence; and it is always about themselves that the living ask, not about those who are to come. One man is concerned with leaving behind him an illustrious reputation, another wants his shame to be forgotten; all would like to follow the thread of their own actions’ consequences; but the more they sharpen their eyes, the less they can discern a continuous line; the future inhabitants of Laudomia seem like dots, grains of dust, detached from any before or after.
The Laudomia of the unborn does not transmit, like the city of the dead, any sense of security to the inhabitants of the living Laudomia: only alarm. In the end, the visitors’ thoughts find two paths open before them, and there is no telling which harbors more anguish: either you must think that the number of the unborn is far greater than the total of all the living and all the dead, and then in every pore of the stone there are invisible hordes, jammed on the funnel-sides as in the stands of a stadium, and since with each generation Laudomia’s descendants are multiplied, every funnel contains hundreds of other funnels each with millions of persons who are to be born, thrusting their necks out and opening their mouths to escape suffocation. Or else you think that Laudomia, too, will disappear, no telling when, and all its citizens with it; in other words the generations will follow one another until they reach a certain number and will then go no further. Then the Laudomia of the dead and that of the unborn are like the two bulbs of an hourglass which is not turned over; each passage between birth and death is a grain of sand that passes the neck, and there will be a last inhabitant of Laudomia born, a last grain to fall, which is now at the top of the pile, waiting.
CITIES & THE SKY • 4
SUMMONED TO LAY down the rules for the foundation of Perinthia, the astronomers established the place and the day according to the position of the stars; they drew the intersecting lines of the decumanus and the cardo, the first oriented to the passage of the sun and the other like the axis on which the heavens turn. They divided the map according to the twelve houses of the zodiac so that each temple and each neighborhood would receive the proper influence of the favoring constellations; they fixed the point in the wal
ls where gates should be cut, foreseeing how each would frame an eclipse of the moon in the next thousand years. Perinthia _ they guaranteed – would reflect the harmony of the firmament; nature’s reason and the gods’ benevolence would shape the inhabitants’ destinies.
Following the astronomers’ calculations precisely, Perinthia was constructed; various peoples came to populate it; the first generation born in Perinthia began to grow within its walls; and these citizens reached the age to marry and have children.
In Perinthia’s streets and square today you encounter cripples, dwarfs, hunchbacks, obese men, bearded women. But the worse cannot be seen; guttural howls are heard from cellars and lofts, where families hide children with three heads or with six legs.
Perinthia’s astronomers are faced with a difficult choice. Either they must admit that all their calculations were wrong and their figures are unable to describe the heavens, or else they must reveal that the order of the gods is reflected exactly in the city of monsters.
CONTINUOUS CITIES • 3
Each year in the course of my travels I stop at Procopia and take lodgings in the same room in the same inn. Ever since the first time I have lingered to contemplate the landscape to be seen by raising the curtain at the window: a ditch, a bridge, a little wall, a medlar, a field of corn, a bramble patch with blackberries, a chicken yard, the yellow hump of a hill, a white cloud, a stretch of blue sky shaped like a trapeze. The first time I am sure there was no one to be seen; it was only the following year that, at a movement among the leaves, I could discern a round, flat face, gnawing on an ear of corn. A year later there were three of them on the wall, and at my return I saw six, seated in a row, with their hands on their knees and some medlars in a dish. Each year, as soon as I entered the room, I raised the curtain and counted more faces: sixteen, including those down in the ditch; twenty-nine, of whom eight were perched in the medlar; forty-seven, besides those in the chicken house. They look alike, they seem polite, they have freckles on their cheeks, they smile, some have lips stained by blackberries. Soon I saw the whole bridge filled with round-faced characters, huddled, because they had no more room to move in; they chomped the kernels of corn, then they gnawed on the ears.