111 of 118 people found the following review helpful:
4.0 out of 5 stars
A conceptual review of a conceptual book, March 29, 2002
You are getting ready to read an Amazon.com review of Italo Calvino's book "If on a winter's night a traveller". Is your mouse nearby? Are you sitting in a comfortable chair? You're not slouching over the keyboard, are you? Sit up! Now, rub your eyes, close any windows containing video games, and read on.
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Besides Tom Robbins' "Half Asleep in Frog's Pajamas", this is the only book you've ever read written (mostly) in second person narration. 'You' are the protagonist of the story, and are directly addressed by the author/narrator. 'You' are the Reader. This is a technique that Calvino uses very well, especially when he manages to predict (or accurately tell) the circumstances around how 'you' bought the book, how 'you're' reading it, and 'your' thoughts and feelings concerning it.
You notice that this book has no story, per se. Instead, it is about Stories. The structure of the book is more important than the narrative thrust. A Reader (you) begins reading Italo Calvino's new book, "If on a winter's night a traveller". But the book is misprinted, and ends halfway through. So you head down to the bookshop, anxious to get your money back. There you encounter The Other Reader, a young woman also foiled in her attempt to read Calvino's new book. You both buy a new copy from the shopkeeper, only when you get it home, you realize it is not Calvino's new book at all, but something called "Outside the town of Malbork". Things continue this way, back and forth from thwarted novel to encounters with The Other Reader (who, by this time, you've developed quite a crush on). Along the way, you will meet many other shady literary characters, like The Non Reader, The Writer, and the Plagiarist. Do not be afraid of these men. They are merely devices to get you thinking about the nature of reading, the nature of writing, the nature of authorship, and a number of other significant post-modern issues.
This all sounds quite fascinating to you, but you still have trepidations. You have a copy of the book with you right now. To help quench your fears you open it up, seemingly at random, to page 197, and read the following exchange:
"'On the contrary, I am forced to stop reading just when [the stories] become more gripping. I can't wait to resume, but when I think I am reopening the book I began, I find a completely different book before me...'
'Which instead is terribly boring,' I suggest.
'No, even more gripping. But I can't manage to finish this one, either. And so on.'"
You think this is pretty good so far. But wonder, is Calvino right on either count? Would such a novel be "terribly boring", or "even more gripping"? Would you get frustrated beyond repair if the story kept stopping, every time it got good? You realize that you must decide for yourself before you begin reading the book in earnest.
Continuing your perusal on the same page, you read the following passage:
"I have had the idea of writing a novel composed only of beginnings of novels. The protagonist could be a Reader who is continually interrupted. The Reader buys the new novel A by the author Z. But it is a defective copy, he can't go beyond the beginning... He returns to the bookshop to have the volume exchanged..."
You stop, because you can see where this is going. This is Calvino telling you the genesis of this book. This kind of self-reflexivity sometimes gives you a headache, for a story within a story within a story (etc.) can sometimes be very confusing. You stop reading for a while to get your bearings.
You take a break by going to the fridge for a glass of juice.
Later, you flip the book open again, this time to page 218, and you notice this:
"Then what use is your role as protagonist to you? If you continue lending yourself to this game, it means that you, too, are an accomplice of the general mystification."
"Calvino is challenging me?" you think to yourself. "He doesn't think I am capable of following him through this labyrinthine world. He doesn't think I have the brainpower. But I do!" You are getting a good head of steam now. "I can read his book, no problem! I am a Good Reader."
You turn to page one, intent on starting and then finishing this book. And when you do, you'll realize that it was a rewarding, if oftentimes difficult and confusing, experience. It will have questioned your preconceived notions of what it means to read, write, to tell stories, and to listen to them. And it will do it in a (mostly) fascinating and suspenseful way, to make the ideas go down that much easier.
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34 of 34 people found the following review helpful:
5.0 out of 5 stars
The book lover's book, April 30, 2002
Often when I'm reading an extraordinarily well-written book, I marvel at how difficult and even agonizing the writing process must be; here's a book that makes me realize that this is a phase most readers go through and a challenge that confronts most writers. A charmer from the very first paragraph, "If on a Winter's Night a Traveler" makes readers feel good about reading and writers feel good about writing.
Never have I read a book that communicates with and understands its reader so well. Writers like Nabokov and Pynchon like to have fun with their readers by posing literary puzzles, but here Calvino empathizes with the avid reader's feelings of frustration from interruptions, expectations, academic blathering, and personal efforts to reflect on literature.
The protagonist of this novel is none other than you yourself, the reader. The novel is about the protagonist's (i.e., your) attempt to finish reading the novel that you have started. However, problems keep cropping up, obstructing you from your goal: misprintings, mixups, interruptions, paramilitary operations, incarceration. Joining you in your quest is Ludmilla, a woman you met in the bookstore and whom you would like to date. Ludmilla has a sister, Lotaria, a feminist who thinks literature should be used to further her polemic agenda and represents the kind of "ideological cheerleading" for which critic Harold Bloom has so much disdain. Ludmilla, on the other hand, represents the perfect passive reader who reads for purely escapist purposes.
The novel's structure is entirely original and somewhat difficult to describe. It consists of two sets of alternating chapters; one set narrates your search for the missing remainder of the novel, and the other set consists of fragments of other novels you mistakenly pick up in your search. Each of these "other" novels is a brilliant piece of writing in its own right, each by a different fictitious author and with a distinctive plot and style. Just as you're becoming engrossed in whatever novel you're reading at a certain time, another interruption occurs, forcing you to resume your worldwide odyssey.
This may sound like a frustrating reading experience, but it's actually a lot of fun, as Calvino demonstrates that starting a new "novel" saves an old plot thread from wearing out. And just when things seem to start spinning out of control for the hapless protagonist (i.e., you, remember?), Calvino brings it all together in a narrative masterstroke that summarizes what all fiction is really about, which hasn't changed much since ancient times: it is simply about telling a story that hasn't happened in real life.
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33 of 37 people found the following review helpful:
5.0 out of 5 stars
An Absolute Essential, April 29, 2000
This review is from: If on a Winter's Night a Traveler (Everyman's Library Classics & Contemporary Classics) (Hardcover)
You have to read this fascinating treatise on reading and writing. I've seen others complain about the weak ending and the lack of structure, but for chrissakes, it's not a Dragonlance novel- it's avant-garde prose. But that doesn't mean it's not accessible. Unlike Andre Breton's shoelace knots of words that you have to dwell on endlessly to untie, Italo Calvino is so easy to read that the prose slips past you a little too quickly. But that doesn't mean it's not worth reading in the first place- Originally I checked this out at my college library and when I finished it, I bought a copy for myself and another copy for a friend. It's extremely hard to describe the book appropriately, but I'm hoping my enthusiasm for it will get my message across- Calvino's insights are worth the price of the book alone, and this fragmented narrative marked by stretches of crystalline, dreamlike beauty make what would normally be a dry work of literature philosophy into a vivid sensual book that I'll probably continue to re-read for the rest of my life.
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