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Calvino Italo, English, Koentjoro Hengki, Literature, Photographers

If on a winter’s night a traveler – Italo Calvino / Hengki Koentjoro

Hengki Koentjoro

Hengki Koentjoro “Transit”

If on a winter’s night a traveler

The novel begins in a railway station, a locomotive huffs, steam from a piston covers the opening of the chapter, a cloud of smoke hides part of the first paragraph. In the odor of the station there is a passing whiff of station café odor. There is someone looking through the befogged glass, he opens the glass door of the bar, everything is misty, inside, too, as if seen by nearsighted eyes, or eyes irritated by coal dust. The pages of the book are clouded like the windows of an old train, the cloud of smoke rests on the sentences. It is a rainy evening; the man enters the bar; he unbuttons his damp overcoat; a cloud of steam enfolds him; a whistle dies away along tracks that are glistening with rain, as far as the eye can see. A whistling sound, like a locomotive’s, and a cloud of steam rise from the coffee machine that the old counterman puts under pressure, as if he were sending up a signal, or at least so it seems from the series of sentences in the second paragraph, in which the players at the table close the fans of cards against their chests and turn toward the newcomer with a triple twist of their necks,
shoulders, and chairs, while the customers at the counter raise their little cups and blow on the surface of the coffee, lips and eyes half shut, or suck the head of their mugs of beer, taking exaggerated care not to spill. The cat arches its back, the cashier closes her cash register and it goes pling. All these signs converge to inform us that this is a little provincial station, where anyone is immediately noticed. Stations are all alike; it doesn’t matter if the lights cannot illuminate beyond their blurred halo, all of this is a setting you know by heart, with the odor of train that lingers even after all the trains have left, the special odor of stations after the last train has left. The lights of the station and the sentences you are reading seem to have the job of dissolving more than of indicating the things that surface from a veil of darkness and fog. I have landed in this station tonight for the first time in my life, entering and leaving this bar, moving from the odor of the platform to the odor of wet sawdust in the toilets, all mixed in a single odor which is that of waiting, the odor of telephone booths when all you can do is reclaim your tokens because the number called has shown no signs of life.

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I am the man who comes and goes between the bar and the telephone booth. Or, rather: that man is called “I” and you know nothing else about him, just as this station is called only “station” and beyond it there exists nothing except the unanswered signal of a telephone ringing in a dark room of a distant city. I hang up the receiver, I await the rattling flush, down through the metallic throat, I push the glass door again, head toward the cups piled up to dry in a cloud of steam. The espresso machines in station cafés boast their kinship with the locomotives, the espresso machines of yesterday and today with the locomotives and steam engines of today and yesterday. It’s all very well for me to come and go, shift and turn: I am caught in a trap, in that
nontemporal trap which all stations unfailingly set. A cloud of coal dust still hovers in the air of stations all these years after the lines have been totally electrified, and a novel that talks about trains and stations cannot help conveying this odor of smoke. For a couple of pages now you have been reading on, and this would be the time to tell you clearly whether this station where I have got off is a station of the past or a station of today; instead the sentences continue to move in vagueness, grayness, in a kind of no man’s land of experience reduced to the lowest common denominator. Watch out: it is surely a method of involving you gradually, capturing you in the story before you realize it—a trap. Or perhaps the author still has not made up his mind, just as you, reader, for that matter, are not sure what you would most like to read: whether it is the arrival at an old station, which would give you a sense of going back, a renewed concern with lost times and places, or else a flashing of lights and sounds, which would give you the sense of being alive today, in the world where people today believe it is a pleasure to be alive. This bar (or “station buffet,” as it is also called) could seem dim and misty only to my eyes, nearsighted or irritated, whereas it could also be steeped in light diffused by tubes the color of lightning and reflected by mirrors in such a way as to fill completely every passage and interstice, and the shadowless space might be overflowing with music exploding at top volume from a vibrant silence-killing machine, and the pinballs and the other electric games simulating horse races and manhunts are all in action, and colored shadows swim in the transparency of a TV and in that of an aquarium of tropical fish enlivened by a vertical stream of air bubbles. And my arm might not hold a briefcase, swollen and a bit worn, but might be pushing a square suitcase of plastic material supplied with little wheels, guided by a chrome stick that can be folded up.
You, reader, believed that there, on the platform, my gaze was glued to the hands of the round clock of an old station, hands pierced like halberds, in the vain attempt to turn them back, to move backward over the cemetery of spent hours, lying lifeless in their circular pantheon. But who can say that the clock’s numbers aren’t peeping from rectangular windows, where I see every minute fall on me with a click like the blade of a guillotine? However, the result would not change much: even advancing in a polished, sliding world, my hand contracted on the light rudder of the wheeled suitcase would still express an inner refusal, as if that carefree luggage represented for me an unwelcome and exhausting burden. Something must have gone wrong for me: some misinformation, a delay, a missed connection; perhaps on arriving I should have found a contact, probably linked with this suitcase that seems to worry me so much, though whether because I am afraid of losing it or because I can’t wait to be rid of it is not clear. What seems certain is that it isn’t just ordinary baggage, something I can check or pretend to forget in the waiting room. There’s no use my looking at my watch; if anyone had come and waited for me he would have gone away again long ago, there’s no point in my furiously racking my brain to turn back clocks and calendars in the hope of reaching again the moment before something that should not have happened did happen. If I was to meet someone in this station, someone who perhaps had nothing to do with this station but was simply to get off one train and leave on another train, as I was to have done, and one of the two was to pass something to the other—for example, if I was supposed to give the other this wheeled
suitcase which instead has been left on my hands and is scorching them—then the only thing to do is to try to re-establish the lost contact. I have already crossed the café a couple of times and have looked out of the front door onto the invisible
square, and each time the wall of darkness has driven back inside this sort of illuminated limbo suspended between the two darknesses, the bundle of tracks and the foggy city. Where would I go out to?

If on a winter’s night a traveler is a 1979 novel by the Italian postmodernist writer Italo Calvino. The narrative, in the form of a frame story, is about the reader trying to read a book called If on a winter’s night a traveler.
Photography: Hengki Koentjoro
14 /16 november 2014 exhibition in Paris: Carrousel du Louvre

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