On the line, he hears a cold voice telling him that a girl named Marjorie is tied up at a certain address. In the first section, always in the second person ('you'), the narrative follows 'you' as 'you' tries to read the novel If On a Winter's Night a Traveler. He surrounds himself with books in his cramped office and seems to have an enthusiasm for literature, but he gets too caught up in pointless small details (for example, the long debate he has with another Professor about an author’s nationality). His paranoia centers around the telephone; when he hears any telephone ringing, he thinks it is for him. Not affiliated with Harvard College. As the reader reads these accounts, he gives all of the women Ludmilla's face. Ruedi again gives a clue to his past, recounting when a boy came to him asking to buy a crocodile. In an airport in Africa, Marana watches another woman reading with great focus; he thinks that he should tell the OAP that the book they should steal is not the manuscript they took from him but whatever book she is reading. He decides to pursue the last two, going to the cafe to wait for Ludmilla and taking with him the book sent by Marana. He later meets a group of young boys who assert that extraterrestrials are using him to channel secret messages, and he realizes that he would never be aware of becoming a conduit even if it actually happened. Character in the story-within-a-story In a network of lines that enlace. You also read the diary of a famous detective fiction writer, and before you know it, you're halfway around the globe and implicated in an international book conspiracy. He goes around the house again and picks up the phone through the window. By entering your email address you agree to receive emails from Shmoop and verify that you are over the age of 13. The reader is conflicted. Marana meets a woman reading a book by Silas Flannery, and she tells Marana, "The novels I prefer...are those that make you feel uneasy from the very first page" (126). In this scene, you find out the true meaning of the titles of all your books and suddenly decide to marry Ludmilla. Ruedi reflects that Bernadette "had got me to rid her of Jojo...in order to put me in his place" (110). Some of the letters have come from Cerro Negro, which the reader guesses is the name of a village somewhere in South America. Ruedi gets more information from the boy: his daughter works at a nightclub called the Nouvelle Titania, run by Madame Tatarescu. This may be a criticism of the assumed readership of novels at this time, as women in novels were often treated as sex objects for the appetites of this ‘average’ reader, rather than individual protagonists whose perspectives could be related to by the reader. At the publishing house, the reader meets an old employee named Mr. Cavedagna. He could never enjoy his ideal writing situation even if it became reality. Calvino uses one of the most vivid metaphors in the book to describe one's connection to the past, writing, "The past is like a tapeworm, constantly growing, which I carry curled up inside me, and it never loses its rings no matter how hard I try to empty my guts in every WC, English-style or Turkish" (107).

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