Italian Ways by Tim Parks: In Italian train stations, the spirit of Kafka is at work

The author of a trilogy of studies on Italy, Tim Parks always keeps his ear to the ground, looking for the telltale nuance, the occluded revelation of national character.

Italian Ways: On and Off the Rails from Milan to Palermo
Tim Parks
Harvill Secker, 288pp, £16.99

“How is it,” wonders Tim Parks, “that Italians always know I’m not Italian, even before I speak to them?” The author of a trilogy of studies – Italian Neighbours, An Italian Education and A Season with Verona – ought to know the answer to that one. In any given situation – at the café, in the football stadium, on the train – Parks is the one with his ear to the ground, listening for the telltale nuance, the occluded revelation of national character.

Unlike most Italophiles, Parks has always allowed himself to ironise much of what he not only observes but is obliged, by the need to make money and bring up children, to participate in. In a pair of comedic romps he wrote early on, he chronicled the efforts of a penniless English-language teacher to ingratiate his way into a rich Veronese family while systematically offing its members. No need to consult Freud.

But, however hard he finds it to suppress his disappointment – at the country’s gift for obfuscation, for generating absurdity – Parks loves and marvels at the place. His books gawp admiringly at the ritual comfort with which Italians can say one thing and do another – lionise the family, for example, while volunteering for a one-child policy or worship at the altars of God and Mammon like the Renaissance bankers in Parks’s Medici Money. “This is a nation,” he writes, “at ease with the distance between ideal and real. They are beyond what we call hypocrisy. Quite simply they do not register the contradiction between rhetoric and behaviour. It’s an enviable mindset.”

A mix of profound familiarity and lingering incredulity is what makes Parks such a pleasing travel companion as he embarks once again on a tour of the peninsula. Parks’s latest is a study of the country as seen through the prism of rail travel. Italian Ways sounds like a book with tunnel vision and even a bit of a return journey, given how much travelling he did in his book about supporting the local football team (A Season with Verona). It is anything but.

Having commuted for years between Verona and Milan to teach students to translate, Parks knows his way around the Ferrovie dello Stato Italiane. This is a state-owned concern very much in the (loss-making) business of underpinning everything that makes Italy Italian. The railways are monumentally in debt, overmanned and grappling with the impossible task of weaning Italians off historical entitlements. Parks meets all manner of people on the train: one bravura passage finds him in a compartment on a long ride to Sicily, listening in like a highly attuned anthropologist. Among the archtypes are, as ever, the furbo and the pignolo – the trickster and the stickler – who here continue their eternal co-dependence like characters from the commedia dell’arte.

In the stations, Parks watches the spirit of Kafka at work: the senseless fines, the English words (“fast ticket”, “Intercity”, “smart” class), the pompous efforts to modernise, the prolix train announcements as unreliable as any fictional narrator. “Italy is not a country for beginners,” he warns, after navigating a bureaucratic labyrinth to buy a season ticket.

It’s only halfway through the book that Parks ventures south of the Po to Florence on a sleek, new, high-speed “arrow” train and, in the final third, he embarks on a tour of the sclerotic south. Italy’s two countries, divided by a common language, reveal themselves as he plummets towards Sicily, self-pitying and, as its residents all parrot, “abbandonata”. It has terrible trains. All of the south does. He spends much time on replacement coaches (the mode of transport for his great novel Europa), musing on Italy’s “eternal dilem - ma”: how to match up to its towering past and ignore the coming cataclysm.

Parks’s most penetrating study of his adoptive home remains An Italian Education, which explains the mollycoddling mamma, from whom all else flows. It may be less ambitious but Italian Ways is older and wiser. And, thanks to all that meditating he did in Teach Us To Sit Still, more peaceable – apart from the moment he loses it with a ticket inspector.

Like the best train journeys, you don’t want it to end (which it does in Milano Centrale with a wonderful belly laugh). Parks notes le coincidenze – the all-important connections – between train travel and reading. It’s a habit he welcomes in his fellow passengers, as it means they’re quiet. Happily, Italians on the move aren’t voracious bookworms; if they were, Italian Ways would not contain such multitudes.

Italian routes: A train arrives into Milano Centrale. Photograph: Getty Images.

This article first appeared in the 01 July 2013 issue of the New Statesman, Brazil erupts

Felipe Araujo
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Hull revisited: What happens when a Brexit stronghold becomes City of Culture?

We report from Hull, to find out if you can replace the kind of nostalgia that led to a Leave vote with cultural investment.

At 75 metres long, the offshore wind turbine blade erected across Queen Victoria Square, in the heart of Hull, is a sculpture intended to mark a new chapter in the city’s history. For the next 12 months, Hull, a city of more than a quarter of a million people in the northeast of England, will be the UK’s City of Culture.

The 28-tonne blade hails from the local Siemens plant. The German technology company employs around 1,000 people in the area, making it Hull’s biggest single employer.

Seen up close in this context – laid dormant in the middle of a town square instead of spinning up in the air generating energy – the structure is meant to remind passersby of a giant sea creature. It is also, I’m told, an allusion to Hull’s rich maritime history.


All photos: Felipe Araujo

Nostalgia is a big thing in this part of the country. At one point, Hull was the UK’s third largest port but technology and privatisation drastically changed that. The battle over cod fishing with Iceland in the waters of the North Sea 40 years ago has also dealt a major blow to a region with a long and proud trawling tradition.

People here still talk about a bygone era when the fishing industry provided jobs for everyone and there was enough money to go around.

Fast forward to 2017, and the country’s new capital of culture is the same city that voted 67 per cent in favour of leaving the EU last June. Its new-found prestige, it seems, is not enough to erase years of neglect by a political class “too busy for commoners like us”, as one resident puts it.

“More than a message to Brussels, it [the Brexit vote] was a message to Westminster,” Paul Leeson-Taylor, a filmmaker born and bred in Hull, tells me. “For the first time in a long time people in Hull felt like they had the chance to change something, and they took it.”

But while speaking to people on the high street and hanging out with locals at the Community Boxing Club in Orchard Park, one of the city’s most deprived areas, there is one word that consistently popped up in conversation – more than any specific policy from Westminster or the much-hated rules “dictated” by Brussels. Foreigners.

According to official figures, Hull’s population is 89.1 per cent white British. Still, immigration is big on people’s minds here.

During my two-day stay in the city, I find myself being the only black person in most places I visit – I’m certainly the only black guy at the boxing club. So when someone begins a sentence with “I’m not racist but…”, I know a tirade on immigrants is about to ensue.

“There are just too many of them,” Nick Beach, an estate agent whose Polish clientele is a big part of his business, tells me as he is about to teach a boxing class to local children. Beach was born in Shepherd’s Bush, in West London, but has been living in Hull for the last 20 years.

“When I go down there these days and go into Westfield shopping centre, it is very rare you get an English person serving you now,” he says. “I just find it disappointing that you go into your capital city and you are a minority there.”

These are the much-discussed “left behind”, a white working-class community that has gained particular prominence in a time of Brexit and Donald Trump. Under economic pressure and facing social change, they want to have their say in running a country they claim to no longer recognise.

For Professor Simon Lee, a senior politics lecturer at the University of Hull, immigration is only a superficial layer when it comes to explaining the resentment I witness here. For him, the loss of the empire 70 years ago is still something that as a country Britain hasn’t come to terms with.

“The reason for us to be together as a United Kingdom has gone, so what is the project?”

As destiny would have it, a foreign company will now play a major role on Hull’s economic future, at least in the short term. In the wake of the Brexit vote, there were widespread fears Siemens would pull out of the region and take its factory elsewhere. With the massive blade looming large in the background, Jason Speedy, director of the blade factory in Hull, assures me that isn’t the case.

“The Brexit decision has made no difference. We have made our investment decision, so Siemens, together with the Association of British Ports, has put in £310m. It’s all full steam ahead.”

As Hull becomes the country’s cultural hub for the next few months, the hope is that its residents stop looking back and start looking forward.

For Professor Lee, though, until there is a complete change in the power structures that run the country, the north-south divide will remain – with or without the EU. “The way you kill nostalgia is to have something new,” he said. “The reason why people here are nostalgic is because there is nothing to replace it with.”

Felipe Araujo is a freelance journalist based in London. He writes about race, culture and sports. He covered the Rio Olympics and Paralympics on the ground for the New Statesman. He tweets @felipethejourno.