He turned left again, off the broad thoroughfare and away from the shuttered shops, into an alley barely wide enough for him to carry the suitcase comfortably. His footsteps resounded like blows. A solitary cat fled at his approach, a half-eaten fish head hanging from its mouth. High in one wall, a single bleary window betrayed the presence of an insomniac or early riser. As the man passed under the lamp jutting out at first-floor level on its wrought-iron bracket, his shadow caught him up and sped ahead, looming ever larger across the rectangular paving stones. At the next corner he turned right, into another alley which gradually widened to form a wedge of open space with a rusty iron-capped well-head at its centre. Here, for the first time, his brisk steps faltered as the pavement went soggy beneath his feet, as though reverting to the marshy field it had once been. Memories crowded in on him like a gang of importunate child beggars.

The houses were built on three storeys: a ground-floor cellar with rectangular grilled openings, then the broad span of the main living area with its elegantly arched windows grouped in pairs, and finally the shallow square-windowed strip of bedrooms just below the roof. The uniformity of the facades was complicated by a horizontal and vertical grid of electric and phone cables, water and gas pipes, by metal strengthening bolts, exhaust vents, guttering, washing-lines, lamp standards and flowerpot holders. Some properties were smartly painted, ochre or russet, while elsewhere the plaster was flaking off like sunburned skin.

The man stopped in front of the most decrepit-looking house of all, facing the well. At ground level the plaster facing had virtually disappeared, revealing the pattern of red brickwork beneath. The shutters closing the first-floor windows were worn down to the bare wood, the scrolled and fluted stone sill was stained with brown streaks from the low metal railing. The doorframe was of the same white Istrian stone, with the number of the house stencilled on it in red paint in an oval frame. Beside the door was a bell-push shaped like an inverted breast. Above, a bowed strip of brass read ZEN.