Soon she became dissatisfied with Pasquale. It was as if he had set in motion a mechanism in her head and now her job was to put order into a chaotic mass of impressions. Increasingly intent, increasingly obsessed, probably overcome herself by an urgent need to find a solid vision, without cracks, she complicated his meager information with some book she got from the library. So she gave concrete motives, ordinary faces to the air of abstract apprehension that as children we had breathed in the neighborhood. Fascism, Nazism, the war, the Allies, the monarchy, the republic—she turned them into streets, houses, faces, Don Achille and the black market, Alfredo Peluso the Communist, the Camorrist grandfather of the Solaras, the father, Silvio, a worse Fascist than Marcello and Michele, and her father, Fernando the shoemaker, and my father, all—all—in her eyes stained to the marrow by shadowy crimes, all hardened criminals or acquiescent accomplices, all bought for practically nothing. She and Pasquale enclosed me in a terrible world that left no escape.
Then Pasquale himself began to be silent, defeated by Lila’s capacity to link one thing to another in a chain that tightened around you on all sides. I often looked at them walking together and, if at first it had been she who hung on his words, now it was he who hung on hers. He’s in love, I thought. I also thought: Lila will fall in love, too, they’ll be engaged, they’ll marry, they’ll always be talking about these political things, they’ll have children who will talk about the same things. When school started again, on the one hand I suffered because I knew I wouldn’t have time for Lila anymore, on the other I hoped to detach myself from that sum of the misdeeds and compliances and cowardly acts of the people we knew, whom we loved, whom we carried—she, Pasquale, Rino, I, all of us—in our blood.
18.
The first two years of high school were much more difficult than middle school. I was in a class of forty-two students, one of the very rare mixed classes in that school. There were few girls, and I didn’t know any of them. Gigliola, after much boasting (“Yes, I’m going to high school, too, definitely, we’ll sit at the same desk”), ended up going to help her father in the Solaras’ pastry shop. Of the boys, instead, I knew Alfonso and Gino, who, however, sat together in one of the front desks, elbow to elbow, with frightened looks, and nearly pretended not to know me. The room stank, an acid odor of sweat, dirty feet, fear.
For the first months I lived my new scholastic life in silence, constantly picking at my acne-studded forehead and cheeks. Sitting in one of the rows at the back, from which I could barely see the teachers or what they wrote on the blackboard, I was unknown to my deskmate as she was unknown to me. Thanks to Maestra Oliviero I soon had the books I needed; they were grimy and well worn. I imposed on myself a discipline learned in middle school: I studied all afternoon until eleven and then from five in the morning until seven, when it was time to go. Leaving the house, weighed down with books, I often met Lila, who was hurrying to the shoe shop to open up, sweep, wash, get things in order before her father and brother arrived. She questioned me about the subjects I had for the day, what I had studied, and wanted precise answers. If I didn’t give them she besieged me with questions that made me fear I hadn’t studied enough, that I wouldn’t be able to answer the teachers as I wasn’t able to answer her. On some cold mornings, when I rose at dawn and in the kitchen went over the lessons, I had the impression that, as usual, I was sacrificing the warm deep sleep of the morning to make a good impression on the daughter of the shoemaker rather than on the teachers in the school for rich people. Breakfast was hurried, too, for her sake. I gulped down milk and coffee and ran out to the street so as not to miss even a step of the way we would go together.
I waited at the entrance. I saw her arriving from her building and noticed that she was continuing to change. She was now taller than I was. She walked not like the bony child she had been until a few months before but as if, as her body rounded, her pace had also become softer. Hi, hi, we immediately started talking. When we stopped at the intersection and said goodbye, she going to the shop, I to the metro station, I kept turning to give her a last glance. Once or twice I saw Pasquale arrive out of breath and walk beside her, keeping her company.
The metro was crowded with boys and girls stained with sleep, with the smoke of the first cigarettes. I didn’t smoke, I didn’t talk to anyone. During the few minutes of the journey I went over my lessons again, in panic, frantically pasting strange languages into my head, tones different from those used in the neighborhood. I was terrified of failing in school, of the crooked shadow of my displeased mother, of the glares of Maestra Oliviero. And yet I had now a single true thought: to find a boyfriend, immediately, before Lila announced to me that she was going with Pasquale.
Every day I felt more strongly the anguish of not being in time. I was afraid, coming home from school, of meeting her and learning from her melodious voice that now she was making love with Peluso. Or if it wasn’t him, it was Enzo. Or if it wasn’t Enzo, it was Antonio. Or, what do I know, Stefano Carracci, the grocer, or even Marcello Solara: Lila was unpredictable. The males who buzzed around her were almost men, full of demands. As a result, between the plan for the shoes, reading about the terrible world we had been born into, and boyfriends, she would no longer have time for me. Sometimes, on the way home from school, I made a wide circle in order not to pass the shoemaker’s shop. If instead I saw her in person, from a distance, in distress I would change my route. But then I couldn’t resist and went to meet her as if it were fated.
Entering and leaving the school, an enormous gloomy, run-down gray building, I looked at the boys. I looked at them insistently, so that they would feel my gaze on them and look at me. I looked at my classmates, some still in short pants, others in knickers or long pants. I looked at the older boys, in the upper classes, who mostly wore jacket and tie, though never an overcoat, they had to prove, especially to themselves, that they didn’t suffer from the cold: hair in crew cuts, their necks white because of the high tapering. I preferred them, but I would have been content even with one from the class above mine, the main thing was that he should wear long pants.
One day I was struck by a student with a shambling gait, who was very thin, with disheveled brown hair and a face that seemed to me handsome and somehow familiar. How old could he be: sixteen? Seventeen? I observed him carefully, looked again, and my heart stopped: it was Nino Sarratore, the son of Donato Sarratore, the railroad worker poet. He returned my look, but distractedly, he didn’t recognize me. His jacket was shapeless at the elbows, tight at the shoulders, his pants were threadbare, his shoes lumpy. He showed no sign of prosperity, such as Stefano and, especially, the Solaras displayed. Evidently his father, although he had written a book of poems, was not yet wealthy.
I was disturbed by that unexpected apparition. As I left I had a violent impulse to tell Lila right away, but then I changed my mind. If I told her, surely she would ask to go to school with me to see him. And I knew already what would happen. As Nino hadn’t noticed me, as he hadn’t recognized the slender blond child of elementary school in the fat and pimply fourteen-year-old I had become, so he would immediately recognize Lila and be vanquished. I decided to cultivate the image of Nino Sarratore in silence, as he left school with his head bent and his rocking gait and went off along Corso Garibaldi. Now I went to school as if to see him, even just a glimpse, were the only real reason to go.
The autumn flew by. One morning I was questioned on the Aeneid: it was the first time I had been called to the front of the room. The teacher, an indolent man in his sixties named Gerace, who was always yawning noisily, burst out laughing when I said “or-A-cle” instead of “OR-a-cle.” It didn’t occur to him that, although I knew the meaning of the word, I lived in a world where no one had ever had any reason to use it. The others laughed, too, especially Gino, sitting at the front desk with Alfonso. I felt humiliated. Days passed, and we had our first homework in Latin. When Gerace brought back the corrected homework he said, �
�Who is Greco?”
I raised my hand.
“Come here.”
He asked me a series of questions on declensions, verbs, syntax. I answered fearfully, especially because he looked at me with an interest that until that moment he hadn’t shown in any of us. Then he gave me the paper without any comment. I had got a nine.
It was the start of a crescendo. He gave me eight in the Italian homework, in history I didn’t miss a date, in geography I knew perfectly land areas, populations, mineral wealth, agriculture. But in Greek in particular I amazed him. Thanks to what I had learned with Lila, I displayed a knowledge of the alphabet, a skill in reading, a confidence in pronouncing the sounds that finally wrung public praise from the teacher. My cleverness reached the other teachers like a dogma. Even the religion teacher took me aside one morning and asked if I wanted to enroll in a free correspondence course in theology. I said yes. By Christmas people were calling me Greco, some Elena. Gino began to linger on the way out, to wait for me so we could go back to the neighborhood together. One day suddenly he asked me again if I would be his girlfriend, and I, although he was an idiot, drew a sigh of relief: better than nothing. I agreed.
All that exhilarating intensity had a break during the Christmas vacation. I was reabsorbed by the neighborhood, I had more time, I saw Lila more often. She had discovered that I was learning English and naturally she had got a grammar book. Now she knew a lot of words, which she pronounced very approximately, and of course my pronunciation was just as bad. But she pestered me, she said: when you go back to school ask the teacher how to pronounce this, how to pronounce that. One day she brought me into the shop, showed me a metal box full of pieces of paper: on one side of each she had written an Italian word, on the other the English equivalent: matita/pencil, capire/to understand, scarpa/shoe. It was Maestro Ferraro who had advised her to do this, as an useful way of learning vocabulary. She read me the Italian, she wanted me to say the corresponding word in English. But I knew little or nothing. She seemed ahead of me in everything, as if she were going to a secret school. I noticed also a tension in her, the desire to prove that she was equal to whatever I was studying. I would have preferred to talk about other things, instead she questioned me about the Greek declensions, and deduced that I had stopped at the first while she had already studied the third. She also asked me about the Aeneid, she was crazy about it. She had read it all in a few days, while I, in school, was in the middle of the second book. She talked in great detail about Dido, a figure I knew nothing about, I heard that name for the first time not at school but from her. And one afternoon she made an observation that impressed me deeply. She said, “When there is no love, not only the life of the people becomes sterile but the life of cities.” I don’t remember exactly how she expressed it, but that was the idea, and I associated it with our dirty streets, the dusty gardens, the countryside disfigured by new buildings, the violence in every house, every family. I was afraid that she would start talking again about Fascism, Nazism, Communism. And I couldn’t help it, I wanted her to understand that good things were happening to me, first that I was the girlfriend of Gino, and second that Nino Sarratore came to my school, more handsome than he had been in elementary school.
She narrowed her eyes, I was afraid she was about to tell me: I also have a boyfriend. Instead, she began to tease me. “You go out with the son of the pharmacist,” she said. “Good for you, you’ve given in, you’re in love like Aeneas’ lover.” Then she jumped abruptly from Dido to Melina and talked about her for a long time, since I knew little or nothing of what was happening in the buildings—I went to school in the morning and studied until late at night. She talked about her relative as if she never let her out of her sight. Poverty was consuming her and her children and so she continued to wash the stairs of the buildings, together with Ada (the money Antonio brought home wasn’t enough). But one never heard her singing anymore, the euphoria had passed, now she slaved away mechanically. Lila described Melina in minute detail: bent double, she started from the top floor and, with the wet rag in her hands, wiped step after step, flight after flight, with an energy and an agitation that would have exhausted a more robust person. If someone went down or up, she began shouting insults, she hurled the rag at him. Ada had said that once she had seen her mother, in the midst of a crisis because someone had spoiled her work by walking on it, drink the dirty water from the bucket, and had had to tear it away from her. Did I understand? Step by step, starting with Gino she had ended in Dido, in Aeneas who abandoned her, in the mad widow. And only at that point did she bring in Nino Sarratore, proof that she had listened to me carefully. “Tell him about Melina,” she urged me, “tell him he should tell his father.” Then she added, maliciously, “Because it’s all too easy to write poems.” And finally she started laughing and promised with a certain solemnity, “I’m never going to fall in love with anyone and I will never ever ever write a poem.”
“I don’t believe it.”
“It’s true.”
“But people will fall in love with you.”
“Worse for them.”
“They’ll suffer like that Dido.”
“No, they’ll go and find someone else, just like Aeneas, who eventually settled down with the daughter of a king.”
I wasn’t convinced. I went away and came back, I liked those conversations about boyfriends, now that I had one. Once I asked her, cautiously, “What’s Marcello Solara up to, is he still after you?”
“Yes.”
“And you?”
She made a half smile of contempt that meant: Marcello Solara makes me sick.
“And Enzo?”
“We’re friends.”
“And Stefano?”
“According to you they’re all thinking about me?”
“Yes.”
“Stefano serves me first if there’s a crowd.”
“You see?”
“There’s nothing to see.”
“And Pasquale, has he said anything to you?”
“Are you mad?”
“I’ve seen him walking you to the shop in the morning.”
“Because he’s explaining the things that happened before us.”
Thus she returned to the theme of “before,” but in a different way than she had at first. She said that we didn’t know anything, either as children or now, that we were therefore not in a position to understand anything, that everything in the neighborhood, every stone or piece of wood, everything, anything you could name, was already there before us, but we had grown up without realizing it, without ever even thinking about it. Not just us. Her father pretended that there had been nothing before. Her mother did the same, my mother, my father, even Rino. And yet Stefano’s grocery store before had been the carpenter shop of Alfredo Peluso, Pasquale’s father. And yet Don Achille’s money had been made before. And the Solaras’ money as well. She had tested this out on her father and mother. They didn’t know anything, they wouldn’t talk about anything. Not Fascism, not the king. No injustice, no oppression, no exploitation. They hated Don Achille and were afraid of the Solaras. But they overlooked it and went to spend their money both at Don Achille’s son’s and at the Solaras’, and sent us, too. And they voted for the Fascists, for the monarchists, as the Solaras wanted them to. And they thought that what had happened before was past and, in order to live quietly, they placed a stone on top of it, and so, without knowing it, they continued it, they were immersed in the things of before, and we kept them inside us, too. That conversation about “before” made a stronger impression than the vague conversations she had drawn me into during the summer. The Christmas vacation passed in deep conversation—in the shoemaker’s shop, on the street, in the courtyard. We told each other everything, even the little things, and were happy.
19.
During that period I felt strong. At school I acquitted myself perfectly, I told Maestra Oliviero a
bout my successes and she praised me. I saw Gino, and every day we walked to the Bar Solara: he bought a pastry, we shared it, we went home. Sometimes I even had the impression that it was Lila who depended on me and not I on her. I had crossed the boundaries of the neighborhood, I went to the high school, I was with boys and girls who were studying Latin and Greek, and not, like her, with construction workers, mechanics, cobblers, fruit and vegetable sellers, grocers, shoemakers. When she talked to me about Dido or her method for learning English words or the third declension or what she pondered when she talked to Pasquale, I saw with increasing clarity that it made her somewhat uneasy, as if it were ultimately she who felt the need to continuously prove that she could talk to me as an equal. Even when, one afternoon, with some uncertainty, she decided to show me how far she and Rino were with the secret shoe they were making, I no longer felt that she inhabited a marvelous land without me. It seemed instead that both she and her brother hesitated to talk to me about things of such small value.
Or maybe it was only that I was beginning to feel superior. When they dug around in a storeroom and took out the box, I encouraged them artificially. But the pair of men’s shoes they showed me seemed truly unusual; they were size 43, the size of Rino and Fernando, brown, and just as I remembered them in one of Lila’s drawings: they seemed both light and strong. I had never seen anything like them on the feet of anyone. While Lila and Rino let me touch them and demonstrated their qualities, I praised them enthusiastically. “Touch here,” Rino said, excited by my praise, “and tell me if you feel the stitches.” “No,” I said, “you can’t feel them.” Then he took the shoes out of my hands, bent them, widened them, showed me their durability. I approved, I said bravo the way Maestra Oliviero did when she wanted to encourage us. But Lila didn’t seem satisfied. The more good qualities her brother listed, the more defects she showed me and said to Rino, “How long would it take Papa to see these mistakes?” At one point she said, seriously, “Let’s test with water again.” Her brother seemed opposed. She filled a basin anyway, put her hand in one of the shoes as if it were a foot, and walked it in the water a little. “She has to play,” Rino said, like a big brother who is annoyed by the childish acts of his little sister.
My Brilliant Friend Page 14
