INVISIBLE CITIES XXXVI -- Thin Cities: OCTAVIA

from here

It's been months since the last IC entry.  An unexpected impetus, however, struck, and I'm back.  No need to dwell on it; let's just jump back into it.

This chapter offers an obvious knee-jerk reminder--certainly and thankfully ridiculous--of a Spiderman villain, and perhaps less so, one from The Lord of the Rings.  Maybe if I hadn't taken a four-month hiatus, I wouldn't have had to reread the exposition at the head of chapter 5 to get what's going on.  We examined a little bit over the previous four chapters the subtle shifting--or, at least, the unlabeled shifting--of narrators.  I'm not sure who's dream is Octavia, or, for that matter, that of the next two chapters (though I expect the entire chapter, whoever's dream it is, is the same), but clearly it's commentary on the unchecked expansion of the empire.

• Assuming that Octavia is analogous to all of the Kublai's expansive territories, what do you make of the closing sentence?

by John Howe; from here

INVISIBLE CITIES XXIX -- Thin Cities: SOPHRONIA

1. "Sophronia" means "self-controlled" or "sensible."  If the half-city that bears permanently the name, Sophronia, is the carnival, then what is Polo (I daren't say Calvino here) getting at?
2. The two preceding cities, both Olivia and, if you're willing to stretch a little, the unnamed city of departures, both hold as part of themselves a reflection, double, or twin--a repetition of itself (herself?).  Is this the motif?
3. What do you think of Calvino's imagination?
4. Is the banking, concrete half a reflection of or just a balance of mass to the permanent half?

from here

INVISIBLE CITIES XXIII -- Thin Cities: ARMILLA

1. There is a semi-recurring theme of water, fountains, pipes, wells and windlasses, and the like.  Thoughts?
2. "Lavabo" is a great word, isn't it?
3. If all the cities are just a million impressions or vantages of the same city, what is the point from which Armilla is being viewed?
4. Contrast Armilla to Hypatia regarding Polo's proximity to them.  For example, Armilla: "In the morning you hear them singing" connotes, to me anyway, distance, as opposed to Polo's extended residency in Hypatia.
5. Is there a difference, fundamentally (and perhaps perspective is a required component to this answer), between a city destroyed and a city unfinished?

INVISIBLE CITIES XVII -- Thin Cities: ZENOBIA

source here

Not much in the way of questions with Zenobia, but a couple thoughts, especially as they apply to what I said in the last post about the important I lay upon an author's creative source for a particular work: is it as pointless for me to do that as it is for a traveler to determine whether Zenobia is a happy or unhappy city?  While I can't full define it at the moment, these two questions, as well as the alternative Calvino offers on the second, seem strangely parallel.

So what do you think of Zenobia?  There are, of course, the typical questions I could ask.  Answer a question I haven't asked--whatever you think that might be?  I don't see everything--not by any stretch of the imagination; and my one limited viewpoint is in a bit of a rut.  What am I not touching upon, and what is the answer?
Why is Zenobia a Thin City rather than a City [of] Desire (and is my "of" rather than the given "and" significantly altering the meaning?)?

INVISIBLE CITIES XI -- Thin Cities: ISAURA

underground lake in Mexico

Isaura: refers to an ancient mountain district in Asia Minor.  I can't efficiently summarize the article--or don't want to--so will leave the reading of it to you.  Application to the vignette?

1. As it seems always to be the final line that offers the framework, we'll start there.  Isaura being the city moving ever upward, we might be inclined to think it a metaphor for deep spirituality and religiosity.  That cannot be the case, as I see it, as their gods are, whether in the wells themselves or the provenances that draw up the water, below them, in which case, are they not always moving away from their gods?  Thoughts?  Compare this to the more common religions whose gods are above and hell or the underworld (hence the name, duh) below.  In which direction is the majority of humanity heading?
2. As it appears literally impossible to draw ourselves away from Kim, I'm not going to bother trying now.  We've spoken once before of windlasses (such a cool word; but even better: noria).  Would it be untoward to ascribe Christian symbolism to the wells/fonts of Isaura?
3. What of the calcareous sky (seashells and coral reefs, by the way, are calcareous, as well as many of the more striking features of caves)?  It seems it's the "sky" to the underground lake.  If there are indeed gods below, their only egress is the holes--the wells--poked into their heavens, and put there, not by natural sources, but people.  T.E. Hulme described the night sky as a star-eaten blanket, indicating holes; as lace, again riddled with holes and fissures; and, unlike the previous two, as the white, wistful faces of the village children.  I don't know where I'm going with this, but the image I'm getting from the dark of the lake's surface looking up at the wells above is magnetic.
4. I lived in a city built over an underground lake, called Treviso, in the Veneto region of North-Eastern Italy, just a half-hour outside of Venice by train.  It was nicknamed "Little Venice" for it's many canals.  In a rather drab corner of the city (which was otherwise absolutely beautiful) was a single spigot that tapped into that lake.  While we were encouraged to buy our drinking water in all other cities, we were actually recommended to bottle water directly from the spigot in Treviso--if we could wait out the line always queuing up behind it.  Again, not sure where I'm going with this, but thought you might find it interesting.
5. Finally (and I almost forgot), why "Thin Cities"?