Tristano Dies: A Life

Hello Gentle Reader

Antonio Tabucchi was one of the greatest writers in contemporary Italy, before his death (prematurely as all death is premature in some form or another), back in two-thousand and twelve, after a long battle with cancer. Yet he left behind a great deal of books, which have been published, and are being translated, into other languages. His work is true literary magic in many ways. Tabucchi was a serious writer, who wrote about losers. Be it they’ve lost to the political climate of the time; lost a lover; lost their life; lost an opportunity; in the end they’ve lost something. Though, as it has been said before: “loosing builds character,” and in Tabucchi’s world, loosing also brings doubts. His characters often carry doubts with them. Doubtful characters, in Tabucchi’s perspectives often had is great for contradictions. Characters with contradictions often, carried more interesting stories; and in Tabucchi’s case, he was right. One such example is Pereira, the old and obese journalist from: “Pereira Maintains,” or “Pereira Declares.” Pereira in the beginning of the novel is simply put, a journalist, in charge of the cultural section of a newspaper. His love is for literature; a pastime or a lifelong passion, in which consumes and interests him. Yet because of this, Pereira remains uninvolved with the politics of the fascist regime that surround him. Until, he reads an essay by a young man discussing death. Pereira is moved by the essay, and writes to the young essayist, and employee’s him to write “advanced obituaries,” about great writers who are in their advanced age, and who will most certainly die, at a moment’s notice. The young man (Monteiro Rossi) agrees; but what follows suite, are politically charged essays with explicit left leaning political ideas being advertised, and with the current regime, it is considered politically undermining, and inappropriate for publication. Yet slowly with his interest growing for the young man, Pereira begins to find himself, being stirred from his own stupor, both physically and politically. Throughout the novel, Pereira often admonishes the young revolutionary for his politically brazen statements and thoughts, and finds himself, expressing a certain bit of fear for his own career and livelihood, because of his association with the young man, and his desire to write politically charged articles. Despite this though, Pereira begins to show a curious interest in the subterfuge being utilized by the young man and his cohorts, to undermine the ruling political regime and its ideology. At first Pereira is an apolitical individual, a man among the mass who accepts the current political atmosphere and situation, as the current reality; then he takes on a admonished role, quick to attempt reason with Monteiro; and eventually Pereira becomes tantalized by the life of Monteiro, and after the political awakening, Pereira declares his own political awakening, and has completed an entire transformation, and awakened from his own political stupor.

Despite this, Antonio Tabucchi was not a politically motivated writer. When “Pereira Maintains,” or “Pereira Declares,” was first published, it was picked up by the masses, as an encouraging read, and as a book of protest – especially against Silvio Berlusconi. After the novels political and publication success had taken place, there was great speculation that the writer would run for election to the senate. Tabucchi however declined; and has stated that his love has always been literature, and for literature to succeed there needs to be a mixture, of dreams, desire and fantasy; and his professional calling has always been a university professor, and he had no interest in leaving either of those pursuits behind in favour of one that was political. Despite not being a political author, Tabucchi was a writer who openly admitted that everyone should keep a sharp eye on politics.

When politics do come up for Tabucchi, it often has questions relating to the philosophical, the ontological or the existential, and often in a historical context, of some sort or another. It is not a political thriller, or a discussion of communism being ideologically purer then fascism; or fascism far more sustainable then communism. Rather for Tabucchi, it is the shaking of the political or ideological yoke, and undermining oppression. The oppression of such: dreams, desires, and fantasies, which make literature a possibility. Though, when serious conversations do appear, concerning political matters, they are often driven by philosophical questions, rather than politically engaged criticism or vitriol; such is the case with the short story “Clouds,” from “Time Ages in a Hurry,” where a young girl and a middle aged man, discuss the futility and the necessity of war. Such is Tabucchi’s magic, being engaged with contemporary concerns, but not being overtly politically engaged that one is patronized by it.

“Tristano Dies: A Life,” is a perfect companion book to “Time Ages in a Hurry.” The character of this novel, Tristano is a man of a colourful history. We are introduced to Tristano who was a resistance fighter in Greece, who shoots a Nazi-German soldier down in the middle of the street, after the solider attacks the people of a Greek village. From there enters one of the two women of Tristano’s life: Daphne; who hides Tristano away from the occupying forces, and until Tristano can safely get away into the hills. There in the hills, Tristano encounters another woman, who would haunt his life, from his receding memory, an American woman, who is supporting the resistance, and goes by the name Marilyn; though Tristano re-christens her as: “Rosamunde,” or “Guagliona.” Both women appear in Tristano’s monologue, but neither taken any more shape than any of his other dream-like memories, being recounted to the writer who has been called to his bedside, to listen to his recount of a life, on one sultry August. In these dog days of August, Tristano begins to recount his life, but his memory is clouded by both the vulture hovering death, and the morphine he takes to help manage the pain of his gangrene, which is devouring his leg.

The writer called to Tristano’s bedside, has a difficult task ahead of him. The writer is acquainted with Tristano already, having written a small prize winning book about the war hero, but with the request, to sit at the veterans side, and to listen to him recount his life, the writer, soon finds he needs to skim the fat of both imagination, dream, and drug to get the broth and stock of the story, without it being completely adulterated by other imposing forces. Yet, Tristano’s monologue and recount of the events of his life are not always straightforward. They are filled with tangents, thoughts, and questions of the past.  In memory, time is a force that does not move linearly or without logical principals. In memory, and in the case of Tristano’s concept of time, it moves forwards, backwards, without any reasoning behind it. This along with his often drug induced awakenings, would constitute him as a rather unreliable narrator. Still the journey with Tristano and the many versions of himself, and the stream-of-consciousness prose, in which is utilized creates an interesting and unique read.

“Tristano Dies: A Life,” has often been called one of Antonio Tabucchi’s masterpieces. It’s understandable, to see why it is referred to one of his major novels. It deals with the recurring themes of life, death, devotion, love and war. All mixed with Tabucchi’s keen style of always being vague in the middle, and giving the details around the edges. “Tristano Dies: A Life,” however is not an easy read. The style of the book, moves quickly through time, and without any linear direction; when the prose at the sudden shift in temporal perspective, do match up on a singular symphonic note, the majesty of Antonio Tabucchi’s talent become paramount and shine through. Other times though, the prose of “Tristano Dies: A Life,” came move in a direction, that becomes slightly off-putting; the use of extended letters or the attempt of language (both author and translator I presume), trying to use words to mimic the nonsensical sounds we make. But at its heights its witty, it’s thought provoking, and empathetic. I can imagine Frau smoking cigar in the garden, beneath a tree; or being spiteful and speaking German, despite the fact that her Italian is impeccable; and her tenderness when she reads a poem to Tristano every Sunday, just as if they were children again.

The novel itself, is not a book about death, or morbid sentiments or mortuary guilty pleasures. It is true that Tristano is dying; hence the title: “Tristano: Dies,” but it luckily enough has the subtext: “A Life,” to go along with it. “Tristano Dies: A Life,” is far more concerned with the life of Tristano, depicted throughout the novel in one long monologue; and death is broached and discussed as Tristano faces his own mortality. He offers a discussion on the parting of Elephants when they die:

“Speaking of elephants, of all the creatures of this world and all their funeral rites, I’ve always admired the elephants’ the most, they have this strange way of dying—you know about it? When an elephant feels his time has come he leaves the herd, but not alone, he chooses a companion, and they leave together. They start out across the savannah, often at a trot, depending on how urgent the dying elephant is feeling…and they wander and wander, sometimes kilometers and kilometers, until the dying elephant chooses his place to die, and he goes round and round again, tracing a circle, because he knows it’s time to die, he’s being drawn into death but needs to understand this space, as though he has an appointment, as though he wants to look outside himself, look death in the eye, and tell her, good morning madam death, here I am…of course it’s an imaginary circle, but it helps to “geography” death, if you will…and he’s the only one who can enter this circle, for death’s a private act, extremely private, so no one else can enter except the one who’s dying, and at this point he tells his companion he can leave, goodbye, thanks so much, and the other returns to the herd…”

All readers are invited to trot along with Tristano, in this novel.

Archipelago Books, outdoes itself again with another masterful translation, and another book by the late Antonio Tabucchi as well! “Tristano Dies: A Life,” took a while to read, it’s a dense novel, but a pleasurable read, and one must face the facts, the more forward the pages flip the greater the possibility that our time with Tristano is coming to an end; and so it’s best to take it slowly, and enjoy the journey and the route forward, with Tristano and the writer, and admire the prose of Antonio Tabucchi. The work is both empathetic, and humorous; cantankerous and thoughtful; philosophical and critical. Another rewarding book, from Antonio Tabucchi, and Archipelago Books.

Thank-you For Reading Gentle Reader

Take Care

And As Always

Stay Well Read

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M. Mary

P.S. Gentle Reader, because of considerable more energy being pushed towards, education and getting my educational requirements done and pushed through, I have been focusing more on those projects, which has taken time away from reading. Later this week I will also be leaving for a few days out of town, on a family matter, and will not be back until later next week, and will not have anything posted. I am hoping to get “Missing Persons,” wrapped up by Patrick Modiano, in this time frame. If not when I return I will hope to post some blogs about interesting literary news, that may have happened in my absence. Thank-you Gentle Reader for your readership, your understanding, and your continual kind support. ––– M. Mary