Bedridden with the flu on a recent writing retreat, I had resigned myself to focus on recovery rather than to get any writing done. I had not expected, between the coughing fits and the fever chills, to find new inspiration from a familiar source. But there it was, sitting eye-level on the third shelf of a corner bookcase at a stranger’s vacation rental, all 128 pages of glory: Italo Calvino’s Marcovaldo, translated by William Weaver.
My experience with Calvino is uneven. On more than one occasion, my awe of the Italian author’s way with words outpaced my ability to keep up with the quickness of his intellect. I gave up halfway through The Castle of Cross Destinies because my mind could no longer hold the labyrinth of interconnected narratives together, and while I admired and strove to emulate the stylings of his Cosmicomics, many of those journeys across time, space, and imagination remains beyond my comprehension.
Yet when Calvino’s work connects, he leaves an impression upon me unlike any other author. Even as I have professed my love for Invisible Cities in detail here on Ekostories, I feel like I have barely grazed its surface; it is a dream I dream of time and again. Despite having only recently finished it, I find myself feeling similarly about Marcovaldo, a series of linked shorts about an unskilled labourer with an eye for nature, chasing hopes for a better life through the revolving seasons.