The Story of a New Name (The Neapolitan Novels) (17 page)

I showed her the newspaper. She gave it a distracted glance, said, “I know about it.” She explained that it had been an initiative of Michele Solara’s, carried out as usual without consulting anyone. Look, she said, and went to the cash register, took out of the drawer a couple of creased clippings, handed them to me. Those, too, were about the shop in Piazza dei Martiri. One was a small article in
Roma
, whose author lavished praise on the Solaras, but made not the slightest mention of the panel. The other was an article spread over three columns, in
Napoli Notte
, and in it the shop sounded like a royal palace. The space was described in an extravagant Italian that praised the furnishings, the splendid illumination, the marvelous shoes, and, above all, “the kindness, the sweetness, and the grace of the two seductive Nereids, Miss Gigliola Spagnuolo and Miss Giuseppina Carracci, marvelous young women upon whom rests the fate of an enterprise that stands high among the flourishing commercial activities of our city.” You had to get to the end to find a mention of the panel, which was dismissed in a few lines. The author of the article called it “a crude mess, an out-of-tune note in a place of majestic refinement.”

“Did you see the signature?” Lila asked, teasingly.

The article in
Roma
was signed “d.s.” and the article in
Napoli Notte
bore the signature of Donato Sarratore, Nino’s father.

“Yes.”

“And what do you say?”

“What should I say?”

“Like father like son, you should say.”

She laughed mirthlessly. She explained that, seeing the growing success of Cerullo shoes and the Solara shop, Michele had decided to publicize the business and had distributed a few gratuities here and there, thanks to which the city newspapers had promptly come out with admiring articles. Advertising, in other words. Paid for. Pointless even to read. In those articles, she said, there was not a single true word.

I was disappointed. I didn’t like the way she belittled the newspapers, which I was diligently trying to read, sacrificing sleep. And I didn’t like her emphasis on the relationship between Nino and the author of the two articles. What need was there to associate Nino with his father, a pompous fabricator of factitious phrases?

Yet it was thanks to those phrases that in a short time the Solaras’ shop and Cerullo shoes became more successful. Gigliola and Pinuccia boasted a lot about how they had been quoted in the papers, but the success did not diminish their rivalry and each went on to give herself the credit for the shop’s fortunes, and began to consider the other an obstacle to further successes. On a single point they continued to agree: Lila’s panel was an abomination. They were rude to anyone who, in a refined little voice, stopped in just to have a look at it. And they framed the articles from
Roma
and
Napoli Notte
, but not the one from
Il Mattino
.

Between Christmas and Easter, the Solaras and the Carraccis made a lot of money. Stefano, especially, drew a sigh of relief. The new grocery and the old one were prospering, the Cerullo shoe factory was working at full capacity. In addition, the shop in Piazza dei Martiri revealed what he had always known, and that is that the shoes Lila had designed years before sold well not only on the Rettifilo, Via Foria, and Corso Garibaldi but were coveted by the wealthy, those who casually reached for their wallets. An important market, therefore, which had to be consolidated and expanded.

As proof of that success, in the spring some good imitations of Cerullo shoes began to appear in the shopwindows of the outlying neighborhoods. These shoes were essentially identical to Lila’s, but slightly modified by a fringe, a stud. Protests, threats immediately blocked their circulation: Michele Solara straightened things out. But he didn’t stop there, he soon reached the conclusion that new models had to be designed. For that reason, one evening in the shop in Piazza dei Martiri, he summoned his brother Marcello, the Carraccis, Rino, and, naturally, Gigliola and Pinuccia. Surprisingly, Stefano showed up without Lila, he said that his wife was sorry, she was tired.

Her absence did not please the Solara brothers. If Lila isn’t here, Michele said, making Gigliola nervous, what the fuck are we talking about. But Rino immediately interrupted. He asserted, lying, that he and his father had begun some time ago to think of new models and planned to introduce them at a trade show that was to be held in Arezzo in September. Michele didn’t believe him, and became still more irritable. He said that they had to come out with products that were really innovative and not with normal stuff. Finally he turned to Stefano:

“Your wife is necessary, you’ve got to make her come.”

Stefano answered with startling hostility: “My wife works hard all day in the grocery store and at night she has to stay home, she has to think of me.”

“All right,” Michele said, with a grimace, spoiling for a moment his handsome boy’s face. “But see if she can think of us, too, a little.”

The evening left everyone unhappy, but Pinuccia and Gigliola in particular. For different reasons, they found the importance that Michele gave Lila intolerable, and in the following days their disgruntlement became a dark mood that at the slightest opportunity gave rise to a quarrel.

At that point—I think it was March—an accident happened; I don’t really know how. One afternoon, during one of their daily disagreements, Gigliola slapped Pinuccia. Pinuccia complained to Rino, who, believing at the time that he was riding the crest of a wave as high as a house, came to the shop with a proprietary air and told Gigliola off. Gigliola reacted aggressively and he went so far as to threaten to fire her.

“Starting tomorrow,” he said to her, “you can go and stuff ricotta in the cannoli again.”

Then Michele showed up. Smiling, he led Rino outside, to the square, to indicate the sign over the door.

“My friend,” he said, “the shop is called Solara and you have no right to come here and tell my girlfriend: I’m firing you.”

Rino retaliated by reminding him that everything in the shop belonged to his brother-in-law, and that he made the shoes himself, so he certainly did have the right. Inside, meanwhile, Gigliola and Pinuccia, each feeling protected by her own fiancé, had already started fighting again. The two young men hurried back inside, tried to calm them down, and couldn’t. Michele lost patience and cried that he would fire them both. Not only that: he let slip that he would have Lila manage the shop.

Lila?

The shop?

The two girls were silent and the idea left even Rino speechless. Then the discussion started up again, this time focused on that outrageous statement. Gigliola, Pinuccia, and Rino were allied against Michele—what’s wrong, what use to you is Lina, we’re making money here, you can’t complain, I thought up all the shoe styles, she was a child, what could she invent—and the tension increased. Who knows how long the quarreling would have gone on if the accident I mentioned hadn’t happened. Suddenly, and it’s unclear how, the panel—the panel with the strips of black paper, the photograph, the thick patches of color—let out a rasping sound, a kind of sick breath, and burst into flame. Pinuccia had her back to the photograph when it happened. The fire blazed up behind her as if from a secret hearth and licked her hair, which crackled and would have burned completely if Rino hadn’t quickly extinguished it with his bare hands.

Both Rino and Michele blamed Gigliola for the fire, because she smoked secretly and so had a tiny lighter. According to Rino, Gigliola had done it on purpose: while they were all occupied by their wrangling, she had set fire to the panel, which, loaded with paper, glue, paint, had instantly burst into flames. Michele was more circumspect: Gigliola, he knew, continuously toyed with the lighter and so, unintentionally, caught up in the argument, hadn’t realized that the flame was too close to the photograph. But the girl couldn’t bear either the first hypothesis or the second, and with a fiercely combative look blamed Lila herself, that is, she blamed the disfigured image, which had caught fire spontaneously, like the Devil, who, attempting to corrupt the saints, assumed the features of a woman, but the saints called on Jesus, and the demon was transformed into flames. She added, in confirmation of her version, that Pinuccia herself had told her that her sister-in-law had the ability not to stay pregnant, and, in fact, if she was unsuccessful she would let the child drain out, rejecting the gifts of the Lord.

This gossip grew worse when Michele Solara began to go regularly to the new grocery store. He spent a lot of time joking with Lila, joking with Carmen, so that Carmen hypothesized that he came for her and on the one hand was afraid that someone would tell Enzo, doing his military service in Piedmont, while on the other she was flattered and began to flirt. Lila instead made fun of the young Solara. She heard the rumors spread by his fiancée and so she said to him: “You’d better go, we’re witches here, we’re very dangerous.”

But when I went to see her, during that period, I never found her truly cheerful. She assumed an artificial tone and was sarcastic about everything. Did she have a bruise on her arm? Stefano had caressed her too passionately. Were her eyes red from crying? Those were tears of happiness, not grief. Be careful of Michele, he liked to hurt people? No, she said, all he has to do is touch me and he’ll burn: it’s I who hurt people.

On that last point there had always been modest agreement. But Gigliola especially had no doubts by now: Lila was a witch-whore, she had cast a spell on her fiancé; that’s why he wanted her to manage the shop in Piazza dei Martiri. And for days, jealous, desperate, she wouldn’t go to work. Then she decided to talk to Pinuccia, they became allies, and moved to the offensive. Pinuccia worked on her brother, insisting that he was a happy cuckold, and then she attacked Rino, her fiancé, telling him that he wasn’t a boss but Michele’s servant. So one evening Stefano and Rino waited for Michele outside the bar, and when he appeared they made a very general speech that in substance, however, meant: leave Lila alone, you’re making her waste time, she has to work. Michele immediately got the message and replied coldly:

“What the fuck are you saying?”

“If you don’t understand it means you don’t want to understand.”

“No, my fine friends, it’s you who don’t want to understand our commercial needs. And if you won’t understand them, I necessarily have to see to them.”

“Meaning?” Stefano asked.

“Your wife is wasted in the grocery.”

“In what sense?”

“In Piazza dei Martiri she would make in a month what your sister and Gigliola couldn’t make in a hundred years.”

“Explain yourself.”

“Lina needs to command, Ste’. She needs to have a responsibility. She should invent things. She ought to start thinking right away about the new shoe styles.”

They argued and finally, amid a thousand fine distinctions, came to an agreement. Stefano absolutely refused to let his wife go and work in Piazza dei Martiri: the new grocery was going well and to take Lila out of there would be foolish; but he agreed to have her design new models right away, at least for winter. Michele said that not to let Lila run the shoe store was stupid, and with a vaguely threatening coolness he put off the discussion until after the summer; he considered it a done deal that she would start designing new shoes.

“They have to be chic,” he urged, “you have to insist on that point.”

“She’ll do what she wants, as usual.”

“I can advise her, she’ll listen to me,” said Michele.

“There’s no need.”

I went to see Lila shortly after that agreement, and she spoke to me about it herself. I had just come from school, the weather was already getting hot, and I was tired. She was alone in the grocery and for the moment she seemed as if relieved. She said that she wouldn’t design anything, not even a sandal, not even a slipper.

“They’ll get mad.”

“What can I do about it?”

“It’s money, Lila.”

“They already have enough.”

It was her usual sort of obstinacy, I thought. She was like that, as soon as someone told her to focus on something the wish to do so vanished. But I soon realized that it wasn’t a matter of her character or even of disgust with the business affairs of her husband, Rino, and the Solaras, reinforced by the Communist arguments of Pasquale and Carmen. There was something more and she spoke slowly, seriously, about it.

“Nothing comes to mind,” she said.

“Have you tried?”

“Yes. But it’s not the way it was when I was twelve.”

The shoes—I understood—had come out of her brain only that one time and they wouldn’t again, she didn’t have any others. That game was over, she didn’t know how to start it again. The smell of leather repelled her, of skins, what she had done she no longer knew how to do. And then everything had changed. Fernando’s small shop had been consumed by the new spaces, by the workers’ benches, by three machines. Her father had as it were grown smaller, he didn’t even quarrel with his oldest son, he worked and that was all. Even affections were as if deflated. If she still felt tender toward her mother when she came to the grocery to fill her shopping bags, free, as if they still lived in poverty, if she still gave little gifts to her younger siblings, she could no longer feel the bond with Rino. Ruined, broken. The need to help and protect him had diminished. Thus the motivations for the fantasy of the shoes had vanished, the soil in which they had germinated was arid. It was most of all, she said suddenly, a way of showing you that I could do something well even if I had stopped going to school. Then she laughed nervously, glancing obliquely at me to see my reaction.

I didn’t answer, prevented by a strong emotion. Lila was like that? She didn’t have my stubborn diligence? She drew out of herself thoughts, shoes, words written and spoken, complicated plans, rages and inventions, only to show
me
something of herself? Having lost that motivation, she was lost? Even the treatment to which she had subjected her wedding photograph—even that she would never be able to repeat? Everything, in her, was the result of the chaos of an occasion?