Characters
The Narrator
The Narrator stands as the unnamed and physically undescribed linchpin of the novel's architecture, potentially embodying one individual or as many as eleven distinct writers. Each of these authors is responsible for separate narratives, including the overarching book, supposedly written by Italo Calvino himself. The Narrator, central to the narrative, explores the nuanced relationship between writers and readers through a series of embedded novels, each narrated by someone aptly called the Narrator. The Prime Narrator crafts the entire framework, engaging directly with the Reader and offering insights into perceptive reading.
This character serves not only to expose the novelistic tactics of subsidiary authors but also employs these devices himself, constructing the novel as the audience engages with it. As the reader observes, the Narrator reacts with amusement, confusion, irritation, and intrigue, inviting them to partake in the illusionary atmosphere of the work. Despite his seemingly honest disposition, the Narrator is imbued with a sly, devious quality, adding layers of complexity to the narrative.
Delving into the structure, the Narrator's role permeates ten additional novels, suggesting they are all reflections of himself. The internal novel, If on a Winter’s Night a Traveler, shares Calvino's title but unfolds as an espionage tale, intertwined with other works through printing errors. These include Outside the Town of Malbork, by Tazio Bazakbal, and a supposedly Cimmerian tale, Leaning from the Steep Slope, by Ukko Ahti. However, this origin is illusory, with the novel appearing Cimbric, authored by Vorts Jiljandi, titled Without Fear of Wind or Vertigo.
The plot diversifies further with Ermes Marana's introduction—a shadowy translator and agent provocateur who mirrors a darker version of the Narrator. Marana's engagement in plagiarism leads to subsequent works, including Looks Down in the Gathering Shadow by Bertrand Vandervelde and the confusingly titled In a Network of Lines That Enlace and In a Network of Lines That Intersect by Silas Flannery. These narratives highlight a multifaceted Narrator, enriched by Flannery's diary pages, adding depth to the narrative complexity.
The Narrator reveals that at least one Flannery novel is likely a Marana translation of Takakumi Ikoka's Japanese work, On a Carpet of Leaves Illuminated by the Moon. Subsequent novels include Around an Empty Grave by Calixto Bandera, leading to the penultimate What Story Down There Awaits Its End? by Anatoly Anatolin. Ultimately, the Narrator resumes control, bringing the novel to a close. Throughout, he guides the Reader as either a wise mentor or a whimsical jester, embodying the duality of authorship—the capacity to entertain and mystify.
As a satirical reflection of the Author, the Narrator is likened to the omniscient architect of traditional reading experiences. The narrative "If on a Winter’s Night a Traveler" is only the first of ten novel beginnings. Calvino, through his narrative persona, draws parallels with Chaucer's technique from The Canterbury Tales, where both serve as characters within their creations, navigating storytelling complexities, and persevering in broader literary endeavors.
The Reader
The Reader characterizes an Everyman of indeterminate age, undoubtedly an adult male, unmarried, and initially holding minimal life expectations. As the narrative progresses, he elevates his aspirations, finding greater enjoyment in both reading and living. This character is sketched broadly, allowing readers to project themselves onto him. His journey through unfinished novels mirrors his evolving relationship with Ludmilla, the Other Reader, culminating in marriage.
The Reader's character evolves into a daring figure, navigating a complicated journey from a simple bookstore to acting as a double agent in Ircania. His role is to identify with the male protagonists of embedded narratives, blurring the lines between his original self...
(This entire section contains 1008 words.)
Unlock this Study Guide Now
Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.
Already a member? Log in here.
and narrative counterparts. Calvino encourages all readers, regardless of gender, to relate to this character, unveiling the hermaphroditic nature of true reading experiences.
The Reader’s pursuit of literature and Ludmilla parallels his journey to resolve narrative confusion, symbolizing a blend of masculine and feminine storytelling approaches. His marriage to Ludmilla signifies the harmonious culmination of their shared quest for a holistic reading experience.
The Other Reader
The Other Reader, Ludmilla, complements the Reader as his female counterpart, romantic interest, and eventual spouse. Her literary affinity is profound, viewing both reading and writing as natural acts. Her ideal author crafts books effortlessly, akin to a vine producing pumpkins. Ludmilla's physical description is more vivid compared to the Reader, capturing her beauty through the Narrator's and the Reader's perspectives. She is portrayed with expressive eyes, flawless skin, and luxurious hair, while her apartment reflects her practical yet romantic nature.
Ludmilla's consistent reactions to successive narratives contrast with the Reader's exasperation. Her approach prioritizes the presence of words over narrative details, illustrating a more accepting engagement with literature. Her character, reserved yet friendly with diverse, book-loving individuals, underscores her passionate devotion to reading. Ludmilla embodies a feminine approach to fiction, valuing the organic growth of stories. Her relationship with the Reader evolves from acquaintance to marriage, symbolizing the integration of passive and active reading experiences.
Her character highlights the contrast between receptive literary engagement and the analytical stance represented by her sister Lotaria, establishing Ludmilla as a more believable and realistic figure.
Lotaria
Lotaria, Ludmilla's sister, presents a stark contrast to her sibling. Attractive in an unconventional manner, her features include a long neck, bird-like face, and curly hair. Her voice, sharp and ironic, reflects her relentless, humorless nature. Lotaria approaches literature with scientific rigor, aiming to strip it of human elements, reducing books to numerical codes through formulas and computations. She aspires to create a machine that renders actual reading unnecessary, turning literary appreciation into a purely theoretical exercise.
Her methodology is devoid of pleasure or aesthetic judgment, focusing on fitting texts into predetermined schemes. In her discussion group sessions, jargon obscures narrative essence, opposing Ludmilla's natural literary engagement. Lotaria represents a critical mindset, emphasizing personal opinions over genuine appreciation. Her brief romantic involvement with the Reader illustrates a temptation devoid of emotional fulfillment, showcasing her detached, analytical nature.
Through these characterizations, Lotaria embodies the antithesis of natural literary enjoyment, highlighting the complex interplay between different approaches to literature and understanding.