For fifteen years I had dreamed of illustrating the work of Italian author Italo Calvino. Part of the attraction, somewhat superficial, had to do with his connection to San Remo where he was raised and where I spent many summers myself, and Turin where Calvino lived for many years, first as a student, then as an author and editor for the publisher Einaudi, and where my father was born.  I too spent a good portion of my childhood in Turin. Later in life, Italo Calvino transferred to Rome where I completed my last year of high school and returned to live another two years with my wife, Joan Parazette. (Although this is never mentioned and somewhat irrelevant, it is clear that "Aventures" ("Difficult Loves") is set in Turin, while "Palomar" is set in Rome. The 18th century setting of "Le baron perché" ("The Baron in the Trees") is reminiscent of the "Riviera dei Fiori"and the Liguria region where San Remo is located).

     However, a deeper attraction to the work of Italo Calvino had to do with its form and content. Calvino's writing is chiseled with care and precision, it embodies at once the rigor of mathematics and geometry and the refinement of a good jeweler's craftsmanship. All is clean, essential, to the point, and yet none of this takes away from the author's wit and humor. Italo Calvino is a "voyeur" or, if one prefers, an eager and attentive observer interested not in heroes and adventures (the French title "Aventures" is ironic and so are the Italian and English titles "Gli amori difficili", "Difficult Loves") but in everyday people, living their everyday lives. Calvino sets his characters in given situations, "dramas" of sorts, and looks at them struggle, succeed, fail, live. As an illustrator, I choose to stand back. As Calvino hides, or acts, I remain in his shadow, portraying not only characters and settings but the author's discourse. Such discretion on my part is not only an obligatory mark of respect and admiration, but a necessity: These books are in large part self-portraits by Calvino, especially "Palomar" and "Le Baron Perché"; how could I add heavy brushstrokes to such work?

     After receiving her illustrated copy of "Aventures" (published in French by Editions du Seuil, 2001) Esther Calvino, the author's widow, wrote me the following: "Your graphic interpretation of "Aventures" is a marvel of subtlety and sensitivity. I believe that my husband would have agreed with me; he too would have appreciated this constant understatement in your work." (The illustrations for "Aventures" have been awarded a Silver Medal by the Society of Illustrators in New York). The day before the official release of the book at the Italian Cultural Center in Paris, I had the pleasure to spend an afternoon in the company of Esther Calvino who again, answering my request, offered me the renewed privilege to illustrate "Palomar" (Editions du Seuil, 2003). Thanks to Esther Calvino's continuous support, I recently finished illustrating "Le baron perché" ("The Baron in the Trees") which will be published as the third volume in the series by Editions du Seuil in October 2005.

    It would be absurd to pretend enriching Italo Calvino's stories with my images. I hope however that these will entice some to discover Calvino's wonderful universe.

Yan Nascimbene

For more information on Italo Calvino, please go to:
www.themodernword.com
www.matisse.lettres.free.fr/rubriquecursives/calvino/lienscalvino.htm
www.kirjasto.sci.fi/calvino.htm