Cities & Desire
From there, after six days and seven nights, you arrive at Zobeide, the white city, well exposed to the moon, with streets wound about themselves as in a skein. They tell this tale of its foundation: men of various nations had an identical dream. They saw a woman running at night through an unknown city; she was seen from behind, with long hair, and she was naked. They dreamed of pursuing her. As they twisted and turned, each of them lost her. After the dream, they set out in search of that city; they never found it, but they found one another; they decided to build a city like the one in the dream. In laying out the streets, each followed the course of his pursuit; at the spot where they had lost the fugitive's trail, they arranged spaces and walls differently from the dream, so she would be unable to escape again.
This was the city of Zobeide, where they settled, waiting for that scene to be repeated one night. None of them, asleep or awake, ever saw the woman again. The city's streets were streets where they went to work every day, with no link any more to the dreamed chase. Which, for that matter, had long been forgotten.
New men arrived from other lands, having had a dream like theirs, and in the city of Zobeide, they recognized something from the streets of the dream, and they changed the positions of arcades and stairways to resemble more closely the path of the pursued woman and so, at the spot where she had vanished, there would remain no avenue of escape.
The first to arrive could not understand what drew these people to Zobeide, this ugly city, this trap.
Cities & The Sky
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 catwlks 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 bruses up and down, as they answer "So that it's 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.
Cities & Eyes
When you have forded the river, when you have crossed the mountain pass, you suddently find before you the city of Moriana, its alabaster gates transparent in the sunlight, its coral columns supporting pediments encrusted with serpentine, its villas all of glass like aquariums where the shadows of dancing girls with silvery scales swim beneath the medusa-shaped chandeliers. If this is not your first journey, you already know that cities like this have an obverse: you have only to walk a semi-circle and you will come into view of Moriana's hidden face, an expanse of rusting sheet metal, sackcloths, planks bristling with spikes, pipes black with soot, piles of tins, behind walls with fading signs, frames of staved-in straw chairs, ropes good only for hanging oneself from a rotten beam.
From one part to the other, the city seems to continue, in perspective, multiplying its repretory of images: but instead it has no thickness, it consists only of a face and an obverse, like a sheet of paper, with a figure on either side, which can neither be seperated nor look at each other.
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 squeares, 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 its way 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 girlde 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 an 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 always blossoming--though it is hard to discern them--the next Olinda and those that will grow after it.
Invisible Cities - Italo Calvino Location As Character http://www.sccs.swarthmore.edu/users/00/pwillen1/lit/citysum.htm