Is it worth it to be born if you cannot remember it later? And, technically speaking, had I ever been born? Other people, of course, said that I was. As far as I know, I was born in late April, at sixty years of age, in a hospital room.

Signor Pipino, born an old man and died a bambino. What story was that? Signor Pipino is born in a cabbage at sixty years of age, with a nice white beard, and over the course of his adventures he grows a little younger each day, till he becomes a boy again, then a nursling, and then is extinguished as he unleashes his first (or last) scream. I must have read that story in one of my childhood books. No, impossible, I would have forgotten it like the rest, I must have seen it quoted when I was forty, say, in a history of children’s literature-did I not know more about George Washington’s cherry tree than my own fig trees?

In any case, I had to begin the recovery of my personal history there, in the shadows of those corridors, so that if I was going to die in swaddling bands at least I would be able to see my mother’s face. My God, though, what if I expired with some blubbery, bewhiskered midwife looming over me?

At the end of the hallway, past a settle beneath the last window, were two doors, one on the end wall and one on the left. I opened the one on the left and entered a spacious study, aquarial and severe. A mahogany table dominated by a green lamp, like those in the Biblioteca Nazionale, was illuminated by two windows with panes of colored glass that opened out on the side of the left wing, onto perhaps the quietest, most private area of the house, offering a superb view. Between the two windows, a portrait of an elderly man with a white mustache, posing as if for a rustic Nadar. The photo could not possibly have been there when my grandfather was still alive, a normal person does not keep his own portrait in front of his eyes. My parents could not have put it there, since he died after they did, indeed as a result of his grief over their passing. Perhaps my aunt or uncle, after selling the city house and the land around this house, had redone this room as a kind of cenotaph. And in fact nothing testified that it had been a place of work, an inhabited space. Its sobriety was deathly.

On the walls, another series from the Imagerie d’Épinal, with lots of little soldiers in blue and red uniforms: Infantry, Cuirassiers, Dragoons, Zouaves.

I was struck by the bookcases, which, like the table, were mahogany: they covered three walls but were practically empty. Two or three books had been placed on each shelf, for decoration-exactly what bad designers do to provide their clients with a bogus cultural pedigree while leaving space for Lalique vases, African fetishes, silver plates, and crystal decanters. But these shelves lacked all such expensive trinkets: just a few old atlases, a set of glossy French magazines, the 1905 edition of the Nuovissimo Melzi encyclopedia, and French, English, German, and Spanish dictionaries. It was unthinkable that my grandfather, a seller and collector of books, had spent his life next to empty bookcases. And indeed, up on one shelf, in a silver-plated frame, I found a photograph, evidently taken from one corner of the room as sunlight from the windows shone on the desk:

Grandfather was seated, looking surprised, in shirtsleeves (but with a vest), barely fitting between two heaps of papers that cluttered the table. Behind him, the shelves were crowded with books, and among the books rose piles of newspapers, stacked sloppily. In the corner, on the floor, other heaps could be glimpsed, perhaps magazines, and boxes full of other papers that looked as though they had been tossed there to save them from being tossed out. Now that was what my grandfather’s room must have been like when he was alive, the warehouse of one who hoarded all manner of printed matter that others would have thrown in the trash, the hold of a ghost ship transporting forgotten documents from one sea to another, a place in which to lose oneself, to plunge into those untidy tides of paper. Where had all those marvels gone? Well-meaning vandals had apparently whisked away everything that could be seen as messy, all of it. Sold perhaps at some wretched junk shop? Perhaps it was after such a spring cleaning that I decided not to visit these rooms anymore, tried to forget Solara? And yet I must have spent hour after hour, year after year, in that room with my grandfather, discovering with him who knows what wonders. Had even this last handhold on my past been taken from me?

I went out of the studio and into the room at the end of the hall, which was much smaller and less austere: light-colored furniture, made perhaps by a local carpenter, in a simple style, sufficient no doubt for a boy. A small bed in a corner, a number of shelves, virtually empty except for a row of nice red hardbacks. On a little student desk, neatly arranged with a black book bag in the center and another green lamp, lay a worn copy of Campanini Carboni, the Latin dictionary. On one wall, attached with two tacks, an image that caused me to feel another very mysterious flame. It was the cover of a songbook, or an ad for a record, It’s in the Air, but I knew it came from a film. I recognized George Formby with his horsey smile, I knew he sang while playing his ukulele, and now I was seeing him again, riding an out-of-control motorcycle into a haystack and coming out the other side amid a din of chickens, as the colonel in the sidecar catches an egg that falls into his hand, and then I saw Formby spiraling downward in an old-style plane he had got into by mistake, but he righted himself, then rose and fell again in a nosedive- oh, how funny, I was dying of laughter, "I saw it three times, I saw it three times," I was nearly yelling. "The funniest picture show I ever saw," I kept repeating, saying picture show, as we apparently did in those days, at least in the country.

That was certainly my room, my bed and desk, but except for those few items it was bare, as if it were the great poet’s room in the house of his birth: a donation at the door and a mise-en-scène designed to exude the scent of an inevitable eternity. This is where he composed August Song, Ode for Thermopylae, The Dying Boat-man’s Elegy… And where is he now, the Great One? No longer with us, consumption carried him away at the age of twenty-three, on this very bed, and notice the piano, still open just as He left it on his last day upon this earth, do you see? The middle A still shows traces of the spot of blood that fell from his pale lips as he was playing the Water Drop Prelude. This room is merely a reminder of his brief sojourn on this earth, hunched over sweat-drenched pages. And the pages? Those are locked away in the Biblioteca del Collegio Romano and can be seen only with the grandfather’s consent. And the grandfather? He is dead.

Furious, I went back into the hallway, leaned out the window that looked out on the courtyard, and called Amalia. How can it be, I asked her, that there are no more books or anything else in these rooms? Why are my old toys not in my bedroom?

"Signorino Yambo, that was still your room when you was sixteen, seventeen years old. What would you have been wanting with toys then? And why worry your head about them fifty years later?"

"Never mind. But what about Grandfather’s study? It must have been full of stuff. Where did that end up?"

"Up in the attic, it’s all in the attic. Remember the attic? It’s like a cemetery, breaks my heart just to go in, and I only go to set out the saucers of milk. Why? Well that’s how I put the three cats in a mind to go up there, and once they get there they have fun hunting the mice. One of your grandfather’s notions: Lots of papers up in the attic, got to keep the mice away, and you know in the country no matter how hard you try… As you got bigger, your old things would end up in the attic, like your sister’s dolls. And later, when your aunt and uncle got their hands on the place, well, I don’t mean to criticize, but they could at least have left out what was out. But no, it was like housecleaning for the holidays. Everything up to the attic. So of course that floor you’re on now turned into a morgue, and when you came back with Signora Paola nobody wanted to bother with it and that’s why you all went to stay in the other wing, which it’s not as nice but easier to keep clean, and Signora Paola got it fixed up real good…"