Goliarda Sapienza ‘Rendez-vous à Positano’


Her movement aroused the attention of all of the onlookers as she descended the remaining steps to the waters edge where a boat was waiting to take her out to sea, img_1370or when, Nicola – La Schimia, the monkey, the son of Lucibello, the oldest and most robust of the former fishermen of Positano, who, like all of the others, had taken to renting out sun shades and deck chairs – helped her to step from the boat, and followed her with a dumbstruck gaze as she crossed the wooden boardwalk that transformed the ancient rocky creek into a cozy lounge.***


Goliarda Sapienza’s novel describing her friendship with Erica has been reviewed here for the ‘Roman de Rochefort’. I’ll start unusually with a short description of the context of this book. first of all Goliarda was born into a famous anarchist socialist family, with her father leading the socialist movement in Sicily until the arrival of facism. Goliarda was involved in the theatre before becoming a full time writer. Her works did not really become well known until after her death. This book written after the death of the central character, Erica, (the names have been changed) tells of a friendship over many years of Goliarda with Erica and a place, Positano. The opening quote, the first lines of the book, illustrate the magnetic attraction of Erica and Goliarda’s writing style.

The story begins in 1948 with the meeting of the two women in Positano where Erica has a Villa and Goliarda is on reconnaissance for a film setting where we immediately understand the magic of the village from the following quote:


It was precisely because of its reputation that we had come to Positano, along with the director Maselli and his screenwriter, Pradino Visconti, to see if the location could be used as the background for the film ‘gli sbandati’ which we were writing . But a few hours were sufficient to convince us that the location was too beautiful and infused with magic for a story such as ours.***


Erica comes from an aristocratic family and is well known by all of the permanent residents of Positano and in truth a little lonely and although Goliarda, with her very different background, is fascinated by her it is one of the permanent residents of the village that suggest to Erica that they could be good for each other and thus, so begins their long friendship meeting each summer in Positano for a period of ten years, from a period of relative anonymity for the village unto the period of mass tourism as the approach road is widened. The cover picture shown at the beginning of the article typifies the idea of the two women that Goliarda manages to portray at this beginning of the 50’s. The following quote helps us to understand the level of confidence that the two friends are able to build up, sharing with each other deeply buried secrets about their lives including the truly dark secrets of Erica’s life told on ‘that famous night’:


At the start of the summer of 58, exactly ten years after our first encounter and three years after that famous night intoxicated by confessions, by silences and by fragrances, I received an enormous post card from New York with a night view of Manhattan (we had begun a bad taste competition, who could dig up the worst, either new or old, of this means of communication), where the small precise handwriting, a little pretentious, even posh of Erica announcing “I’ll be expecting you in July at Positano, I’m happy! and I’d like you to know why. I feel like a new woman, consider me a new woman.***


Erica’s family life from her childhood through to her present day life was filled with tragedy as slowly delivered in the nights spent together during this period, and as if mirrored Positano sinks into the less authentic world of mass tourism whilst Erica’s relatively stable life slips back into tragedy. A final point about the writing style; written by Goliarda mostly in the first person but occasionally stepping back to an overall narrator that refers to her as Goliarda as illustrated in this final quote:


“I would like you to accompany Olivia on the boat. Try to understand where all of her frustration, that has been tormenting me for almost two years, stems from…..”
This task would have vexed almost anyone. But Goliarda likes to get to the bottom of things…..
At least I’ll know why I find her so disagreeable, I told myself…***


I found this book to be a profound and moving book about the story of these two unexpected friends, Castagné’s translation renders a very carefully constructed story the wording it deserves, I could feel Goliarda’s screenwriting in the wonderful descriptions of an already bygone age.

First Published in Italian as “Appuntamento a Positano” in 2015 by Einaudi
Translated into French by Nathalie Castagné and published as “Rendez-vous à Positano” by Le Tripode in 2017
*** my translation

Paolo Cognetti ‘The Eight Mountains’


My father and bruno’s Uncle were on their second glass as we caught them in deep discussion about the economy of alpine farming……Luigi Gugliemina was really happy to be able to talk about it to a competent man,51570AFD-D86D-4CE0-B5D6-A3119E50F5C4 as he went through his accounts out loud to show him that with the prices and he ridiculous norms imposed on the farmers, his work no longer made any sense, and he only carried on out of pure passion for the job.
He said, “When I’m dead, up there, I won’t give it ten years before the forest will have reclaimed the land.***


In this Strega prize winning novel, the narrator, Pietro tells us the story of his and his best friend Bruno’s contrasting lives, with the mountains and nature providing their common ground. The novel slowly shows us the choices Pietro is free to make whilst Bruno cannot and would not want to see any choices but those he is born into.

Pietro is a city dweller whose parents take him, from a young age, each summer to discover the mountains in the Aoste valley where he meets the young Bruno and year after year as they play in the alpine farmland together, they slowly get to know each other, or at least the parts of each other they are willing to acknowledge. The village, Grana, that Pietro visits and in which Bruno lives, in these days just before mass tourism discovers the alps, is extremely poor and is slowly dying, an example of the senselessness of the way of life, as well as an announcement of things to come is given in the opening quote by Bruno’s uncle, the age old way of mountain life is coming to an end.

Role on years later when, after having lost contact, Bruno and Pietro once again become friends, Bruno helps Pietro to build a stone house high above Grana. Bruno becomes as if by prophesy from the earlier times, an alpine farmer taking over his uncle Luigi’s land, whilst Pietro,  as described in the following quote, lives the explorers life, discovering other mountain areas, but never belonging anywhere, up to a point described by the following anecdote. Pietro brings a girlfriend, Lara, up to his mountain home all the time planning not to get involved, not to be weighed down or have his movements, his freedom impeded. Months later Bruno phones to ask if it would be a problem between them if he were to see Lara, whom he then marries.


I wasn’t there that year. In Nepal, I was in touch with the world of NGO’s and was working with a few of them…in the mountains, I came across all sorts of people, from old hippies to students undertaking international civic service, from voluntary unpaid doctors to Mountaineers who, between expeditions, helped out on work sites. Even if all of these people weren’t entirely devoid of ambitions or conflicts of power, they were not without idealism. And amongst these idealists I felt good.***


So does Luigi’s prophesy play out or does Bruno with Lara, show that it is possible to survive as an alpine farmer, in Bruno’s times of need can he count on his friend Pietro? Does Pietro manage to reign in his solitary way of life, of not belonging but of watching life go by? What do you think?

First published in Italian as ‘Le Otto Montagne’ by Einaudi in 2016
Translated into French by Anita Rochedy as “Les Huits Montagnes” and published by Stock in 2017
*** My translation

Luca Di Fulvio ‘The Boy who Granted Dreams’


She took a length of rope and tied it around Cetta’s left shoulder. “Stand up,” she ordered, and then pulled the rope down to her crotch, so that the child had to hunch over. F56CFD9E-BE6C-44B2-A3E7-35A7AD50EA4BNext, she knotted it tightly around her left thigh. “This is a secret between you and me,” she told her…..“You’re going to tell everyone the fall left you crippled. Everyone, even your brothers,” she explained to the child. “You’ll wear this rope on for a month, to get used to it. After that, I’ll take it off, but you’ll still walk as though you were still wearing it…..And when the padrone comes by in the evening with his beautiful automobile and honks his horn, you run out to greet him.”


Back to Italy at the turn of the century, if you work on the padrone’s land, well you belong to him and Cetta in her early teens, beautiful, has been noticed by the padrone. Her mother goes to the extent of protecting her by the subterfuge of passing her for a cripple at the beginning of Di Fulvio’s sweeping love story of an Italian immigrant in New York, read for the now extended Italian lit month.

Of course this attempt turned out not to be sufficient and Cetta soon finds herself working as a prostitute in far of New York with a baby boy, Natale, re-named Christmas at Ellis Island and so begins the story of Christmas, which in the Italian quarters we are soon lead to understand that this must be a darkies name (I didn’t feel up to the ‘n’ word of the book). As Christmas grows up in this poor cut throat district he creates a gang, the Diamond Dogs, And we live through the petty crime of the beginnings.

One night whilst still young, Christmas comes across Hannah, a young Jewish girl from a wealthy family, half beaten to death, raped and with a finger sheared off (to obtain her ring) by the families gardener, Bill. Christmas takes her to hospital in his arms and so begins an epic love story, or at least that is the intention. A story where Hannah and Christmas are separated, Hannah becomes a professional photographer in the Los Angeles of the movies, never recovering from her assault, always afraid, Christmas, remaining in New York, becomes a star of the radio telling stories about  his New York, the lower east side, of the gangs and in particular of the Diamond Dogs and finally Bill also ends up in Los Angeles working in the violent pornography business.

As the story works towards a climax I berate myself for reading through to the end a story entirely ruined for me by the longwinded descriptions of their feelings for one another, taking up easily a hundred pages of the book! A shame as the story itself relates an era.

First published in Italian as ‘La Gang dei Sogni’ by Arnoldo Mondadori in 2008
Translated into English by Ann McGarrell as “The Boy Who Granted Dreams” and published by Bastei Lübbe in 2015

Cesare Pavese ‘The Moon and The Bonfires’


A town means not being alone, knowing that in the people, 4E345BB0-9B0F-4027-96D6-58EC98F24484the trees, the soil, there is something of yourself, that even when you’re not there it stays and waits for you. But it isn’t easy to live there and not be restless.


Which one of us doesn’t recognise himself a little in this opening quote from Pavese’s Moon and The Bonfires, read for what is now the extended Italian lit month, as the narrator at forty years old comes back to his native village in the countryside above Genoa just after the Second World War and after twenty years of absence in America where he has made his fortune.

The book circles around his erstwhile and newly re-emerging relationship with Nuto, a few years older than the narrator and who had stayed in their valley through the fascist times:


“Nuto, unlike me, has never gone far from Salto he says that to live a full life in this valley you should never leave it.”


This is a story of unspoken yet irrational guilt, the narrator for leaving his home town, where he had been brought up without a past in the ancient poverty still active in these villages and where, in flash backs to his own upbringing and the parallel with the actual story of Cinto, we understand the hopelessness of his previous situation. He was brought up in Gaminella by Padrino and Virgilia.


“Forty years ago there were people on these hills wretched enough to saddle themselves with a bastard from the hospital, in addition to the children they already had, just to lay eyes on a piece of silver.”


And he illustrates the cause of this poverty by the case of the young Cinto, in the present day living on the same farm as that on which he had worked, where they shared their crops with the land owner. Cinto tells us of events after the farmhouse is burnt down by Cinto’s father, the violent Valino:


“He’d gone down to Belbo. Then he’d heard the hog barking, his father tying up the ox. The madame of the villa had come to divide up the beans and potatoes. She’d said that two rows of beans had already been dug, so Valino would have to make up for them….He started shouting at Rosina and the grandmother because they hadn’t picked the green beans earlier. He said that now the madame was eating the beans that belonged to them.


Nuto takes most of the book, circling the question of his own guilt as bodies occasionally come to the surface in the hills from the shallow graves of the hectic wartime struggles between the partisans and the Fascist Republicans.
Firstly we learn of the family that employed the narrator, whom they had nicknamed Eel, Sor Matteo and his three daughters, Silvia, Irene and the much younger Santina. All of them now dead and how Nuto’s story is entwined with Santina’s, as Nuto finally gets to the point where he talks about his small part in those tumultuous times, the narrator asks him:


“And you, were you a partisan? Were you there?
Nuto swallowed and shook his head. Everybody did something. Too little….but there was the danger that a spy might send someone to burn down your house…


Nuto was still alive when so many others were not, the root of his guilt. Pavese himself committed suicide shortly after the book was published in 1950.

First published in Italian as ‘La luna e il falò’ by Giulio Einaudi in 1950.
Translated into English by R.W. Flint as “The Moon and The Bonfires” and published by The New York Review of Books in 2002.

Luca D’Andrea ‘Beneath the Mountain’


At the end of the screening, the fat guy was the first to have his say. What he said in a speech that lasted thirty-five minutes can be summed up as: “What a crock of shit!”…4B3AEFDD-E132-4BE7-BDDC-D37E89C80E28I was about to retaliate with a long (very long) series of not very PC remarks…when…The blonde girl asked permission to speak….She stood up (she was really pretty) and said, in a very strong German accent, “I’d like to ask you. What’s the exact word for Neid?” I burst out laughing and mentally thanked my dear Mutti for her insistence on teaching me her mother tongue.  “Mein liebes Fräulein,”….. “Sie sollten nicht fragen, wie wir ‘Neid’ sagen, sondern wie wir ‘Idiot’ sagen.” My dear young lady, you shouldn’t ask how we say “envy,” but how we say “idiot.” Her name was Annelise. Annelise was neither German nor Austrian nor even Swiss. She came from a tiny province in the north of Italy where most of the population spoke German. It was a strange place was Alto Adige, or Südtirol.


Luca D’Andrea’s book, read for Italian lit month, is set in the Alto Adige at Siebenhoch, a small mountain community in Italy, North of Bolzano, where the traditional language is German, a once poor mining community that seemed destined to disappear before the advent of tourism from the 1980’s. Salinger, a successful documentary writer comes to stay with his wife Anneliese and their daughter Clara. Soon after his arrival he sees the red helicopter of Dolomite Mountain Rescue and after discovering that it had been his own father-in-law, Werner Mair, who had been responsible for creating it, he decides to shoot his next documentary around this subject.

During the shooting, there is a tragic accident in the mountains where the helicopter is lost and Salinger is the only survivor, but he is injured both physically and mentally PTSD. This marks the true beginning of the story, whilst trying to recover Salinger discovers a mysterious Cold Case, the horrific murders of Evi, Kurt and Markus up in the mountains, at the Bletterbach caves, near the old mines on the night of April 28, 1985. In trying to solve the mystery of the deaths he meets resistance from the local community, discovers that in this remote community, despite his marriage, he will always be an outsider. As he investigates, he meets all of the remaining protagonists, Max Krün the local policeman and Werner Mair, his own father-in-law, who were both in the rescue team that discovered the bodies, the other two rescuers Gunther and Hannes are both since dead, he meets Gunther’s alcoholic girlfriend, Brigitte Pflantz, and Gunther’s rich brother, Manfred Kagol, the owner of the Bletterbach Visitor Centre, built soon after the deaths to welcome visitors to this fossil rich mountain area, the catalyst for a local tourist infrastructure bringing relative wealth to the area.

Salinger discovers many dark secrets, touching everyone around him including his own family, as well as a fair share of red herrings. Luca D’Andrea brings us a well written, well paced thriller in this unusual setting.

First published in Italian as ‘La sostanza del male’ by Einaudi in 2016
Translated into English by Howard Curtis as “Beneath The Mountain” and published by Harper in 2018

 

Diego Marani ‘New Finnish Grammar’


‘At heart, we have always been Lutherans, even before we became Christians. The heroes of the Kalevala were already Lutherans in the same way that Achilles and Ulysses were already Orthodox. 2F042AD6-7A56-4C98-8D52-428CB0A1F403Ulysses practised his wiles on a sophisticated and sceptical society which was familiar with mental trickery. Väinämöinen’s mode of speech is craggy, immediate, uncomplicated, like the first blow of a chisel on rough stone. The Greek Gods mingled with men, wrangled and negotiated with them. The God Ukko never comes down to Earth; he judges our actions and then visits light or darkness upon us, punishment or reward.’


In Diego Marani’s left of field book New Finnish Grammar, read for Italian Lit Month,  the story of roots and the need to belong is brought to us in this improbable story. During the Second World War a man is found in the port of Trieste, badly beaten and having lost his memory and speaking no language, the only clue to his identity is the Finnish name Sampo Karjalainen found on his jacket. He is brought aboard a german hospital ship to be treated where the doctor that treats him, Pétri Friari, has himself unsure roots, in the German forces but himself of Finnish descent. He tries to teach Karjalainen, the rudiments of Finnish before sending him to Helsinki to better discover and understand his own country and language and to then maybe discover more about himself. But Finnish is no ordinary language as we learn:


Finnish was not invented. The sounds of our language were around us, in nature, in the woods, in the pull of the sea, in the call of the wild, in the sound of the falling snow. All we did was to bring them together and to bend them to our needs. When God created man, he did not bother to send any men up here.


The reader feels something of the poetry, of the essence of Finnish, without Marani trying to detail the actual language. As the Finns prepare to defend their country against Russian attack, Sampo is housed in the military hospital where he meets Ilma, a nurse who feels for him, maybe a new start is possible with her as he struggles to speak Finnish, helped by the pastor Koskela who tries to teach him not only the language but also what it is to be Finnish through Finnish mythology, The Kalevala, the spirit of which is rendered in the opening quote.

Marani’s tale is told by Pétri Friari, pieced together from notes written by Sampo in Finnish whilst Sampo was struggling to learn the language. Who was Sampo? What was he doing in Trieste? Is their hope, through Ilma for a man that does not know who he is? A chance observation by Sampo at the end of the story makes all clear, As Pétri says:


If Doctor Friedrich Reiner had found the handkerchief with the initials S. K. even a day earlier the fate of Massimiliano Brodar would have been different, as would have been my own.


First published in Italian as ‘Nuovo Grammatica Finlandese’ by RCS Libri in 2000
Translated into English by Judith Landry as “New Finnish Grammar” and published by Dedalus in 2011

Pino Corrias ‘We’ll Sleep When We’re Old’


“The book will be a tremendous success, and success, as Liz Taylor used to say, is an excellent deodorant.”


Who are the glamorous actors and actresses, producers and screenwriters that are responsable for, or appear in the films we see on the silver screen?A1AA7C94-B26C-473A-B1B5-74EE77E1CB7F In this story, read for Italian lit month 2017, Pino Corrias takes us behind the scene’s of the new Roman Dolce Vita. Corrias’ main characters are Oscar Martello, president of his own film production company, come from nothing and who harbors the dream of buying and reviving Cinecittà:


“Oscar Martello is an extrovert. And extroverts generally kick up tremendous clouds of dust so they can then hide in them.”


There is Oscar’s friend, probably his only true friend, Andrea Serrano, a respected screenwriter with the power of turning stories of love and murder into moneymaking successes, and there is Jacaranda Rizzi, the lead actress in Martello’s latest film, No, I Won’t Surrender!:


She’d downed a bottle of wine and knocked down the level in the whisky bottle by three fingers. On the tray on the floor was a package of Xanax….. “Those two things don’t go well together,” Andrea told her, pointing at the Xanax and the bottle of Talisker. “No, they go together perfectly, as far as I’m concerned,” Jacaranda replied, again with that voice. The voice of a stupid little girl, thirty years old, drunk on whisky, and stunned by an excess of psychoactive meds.


The book begins near the end of the story with the destruction by fire of Oscar Martello’s sumptious Roman villa, full of his valuable paintings, leaving us to wonder who could have done it, before Corrias takes us back to the beginning of the story just before events accelerate towards the fire. In La Dolce Roma’s venal society where people would sell their souls for a chance to appear on screen, Oscar and Andrea’s long friendship seems to be an exception, they are sat drinking in Andrea’s apartment as Oscar explains just how bad and how much money he will loose because of his latest film “No I Won’t Surrender” starring the beautiful Jacaranda Rizzi, a film about the Mafia. Oscar has the idea of secretly sending Jacaranda to Paris with Andrea a week before the film’s release and of leaking to the press that Jacaranda has been kidnapped because of her role in this anti-Mafia film, thus raising public interest and saving the film. Andrea agrees to help his friend, it sounds fun and Oscar lends him his golden jaguar for the trip. 

But who is Jacaranda really, how has she reached her role as a star in the corrupt Roman film industry and what is her relationship to Oscar? How did Oscar drag himself up from nothing to the top of the pinnacle and who did he squash to get there? What would happen if against all the odds Andrea falls in love with Jacaranda and learns that Oscar has used him, would their friendship survive?  Corrias draws us a 21st century version of the Dolce Vita, the colourful world of the Roman film industry, it’s intrigues and how desperately the different people described will fight to keep what they have, fame, money or both. 


There was nothing sweet about the dolce vita, it was horrendous. —DINO RISI


First published in Italian as ‘Dormiremo da Vecchi’ by Chiarelettere in 2015
Translated into English by Antony Shugaar as “We’ll Sleep when We’re Old” and published by Atria Books in 2017

Sandro Veronese ‘Terres Rares’

–Today’s news is the prawn warning. It’s in all the papers, and not only in the local pages for Rome. Killer prawns from Louisiana.IMG_1119 There is a worrying tone to the articles because this particular strain, imported from Louisiana about fifteen years ago by a farmer from lake Bracciano, has flourished in the whole of Latium thanks, if would seem, to its exceptional reproductive ability. From ditch to ditch, from irrigation channel to irrigation channel they have advanced to the Malagrotta waste dumps and from there, once again according to the press, last night they launched their assault on Rome by crossing the Via Aurelia at the thirteen kilometer marker.***

Pietro Paladini, the main protagonist from Veronesi’s previous book Quiet Chaos, who lived in Milan and which concerned a reaction to the sudden loss of his common-law wife Lara, finds himself several years later in a seemingly stable situation living and working in Rome. As with the opening quote, where there is in fact a rational explication, to the irrational newspaper article, all is not as it seems, there are indications waiting to be read of the instability of his situation. Firstly he has a steady relationship with a woman of his age, D, but keeps his life with her separate from his life with his daughter: 

–Nevertheless, whilst I feel a tenderness towards her, hold her in high esteem,  feel a need to protect her, share a complicity, respect, besides a physical attraction that can’t be ignored, all of these indications have never converged to a shining cohesive whole. I don’t believe that I love her, you see, at least not in the traditional sense of the word and I do not think that she loves me.***

Pietro works with an old school friend of his, Lello, whose company repossesses luxury cars which Pietro then sells. Suddenly one day Pietro’s life falls to pieces, all is not as it seems, when, as for the first time, he is asked to recover a car from a young starlet who escapes from him at high speed and as he pursues her, his world begins to unravel. He is stopped by the traffic police for speeding and is found to be over the limit, in quick succession he loses his driving license and his telephone, his daughter leaves home, D leaves him and Lello disappears as the fraud squad take over the company’s offices.

Pietro then decides to disappear and is slowly forced to review the whole of his life beginning even before the death of Lara, his relationship with his wealthy father who ran off to live in Switzerland with the nurse he had hired to care for Pietro’s mother in her final illness, with his daughter who has not fully come to terms with her mother’s death, with Lello who had used him without his knowledge as a respectable front for his criminal business, even up to his own represssed love for another woman and as he is eventually forced to understand:

–Humility is being humble with those that humiliate us.***

This story is full of anecdotes linked to the previous book, it can be read independently but is better read after the Strega Prize winning Quiet Chaos.

First Published in Italian as “Terre Rare” in 2015 by Bompiani
Translated into French by Dominique Vittoz and published as ‘Terres Rares” in 2016 by  Grasset
*** My Translation

Niccolo Ammaniti ‘As God Commands’

–Three stars.
Cristiano ranked his father’s rages on a five-star scale. No, three to four. Already in the ‘approach with caution’ area, where the only strategy was to agree with everything he said and keep out of his way as much as possible.IMG_1102 His father turned round and kicked a white plastic chair, which hurtled across the room and fetched up against the pile of boxes where Cristiano kept his clothes. No, he had been wrong. This was five stars. Red alert. Here the only thing to do was to keep shtum and blend in with your surroundings.

Who would want to be Cristiano Zena, brought up in terror by a violent alcoholic father who taught him that the only thing in life that counts is the bond between father and son. Ammaniti, in stubs Strega Prize winner, takes us on a trip into the consequences of Berlusconi’s impact on Italy. Rino Zena has drifted out of work in the new Italy, and is a Nazi sympathiser. His two friends are Quattro Formagi, an unstable halfwit who has been watching the same pornographic film for many years in private so that he knows the lines and is hovering between reality and fantasy, and Danilo Aprea a drunken night watchman whose life fell apart at the accidental death of his child, that spends his nights stalking his ex-wife at her home or on the telephone. And to complete the background, this is Italy, there is religious mumbo jumbo throughout:

–God comes down hardest on those that are weakest, you’re a doctor and you need to know it’s important Enrico, evil is attracted by the poorest and the weakest, when god strikes he strikes the weakest.

When the story does go off the rails each of the pals falls fowl of his own particular weakness, Danilo wants money for no real purpose, Quattro Formagi thinks he recognises one of the actresses in his old American porn film (a school friend of Cristiano’s):

–Quattro Formagi on the saddle of the Boxer was climbing back up around the hairpin bends of the Saint Rocca woods, a fire burned in his shoulder, every rut that he crossed was agony, but that too was a sign that god was with him, just like the holes in padre Pio’s hands.

Rino’s known weaknesses are violence and misplaced loyalty, we discover another weakness that Ammaniti throws in unexpectedly and as for Cristiano, Well you’ll just have to read it, how far can you take filial loyalty? This is not a book with hope as a central theme.

First Published in Italian as “Come Dio Comanda” in 2006 by Mondadori
Translated into English by Jonathan Hunt and published as ‘The Crossroads’ in 2010 by Canongate Books
Also published in English as ‘As God Wants’ in 2009 by Black Cat

Erri De Luca ‘La Nature Exposée’

–As you can see it is a piece of art worthy of a renaissance master. Today the Church would like to restore it to its original form. Which means removing the drape.FullSizeRender
I examine the contrasting stone cover, which seems well attached at the hips and to the naked skin. I tell him that in removing it the nature will inevitably be damaged.
–what nature?
–The nature, the genitalia, that’s what we call male or female nakedness where I come from.***

Erri De Luca’s short book read in French as La Nature  exposée or in English as Nature Revealed*** is the story of a man who values people and shared experiences. The main protagonist lives in a mountain village in the north of Italy, this mountain village has always been situated on a crossroads, a route between the north and the south, as he describes the women of his village:

–Our village isn’t a village for women. They have all left for the towns, married or not. Traditionally they possess a beauty that comes from the passage of migrant populations. They have caravans in their blood.***

So in this isolated village where he has lived all of his long life and where everyone knows the business of everyone else, he carries on the age old business of guiding migrating populations across the Alps. He feels however a certain solidarity with these people forced from war afflicted countries to search a new life far from home and who are exploited at each step of their way. He quietly takes their money and then once over the mountains he returns it, until, after a grateful migrant mentions this act in a book, changing his village life totally as the other mountain guides learn of this treachery:

–The blacksmith and the Baker no longer greet me, the worst snub in the country village expelled from the list of living.

Forced to leave his mountain village he leaves for Genoa and takes up residence in a boarding house which serves meals each evening, once again a point of passage where he meets hard working migrant workers from Northern Africa who either work on the boats or in the marble quarry and feels comfortable with these people,  one of whom gifts him the marble needed for the ‘Nature’. As he looks for work he is chosen, because of his humility, to carry out the work of sculpture hinted at in the opening quote, where he must sculpt a penis for Jesus. I’ll leave you here with this story only to say that in empathy with the subject he goes to extremes:

As if, to be able to interpret a Muslim or a Jewish character, an actor asked to be circumcised in order to blend into the role: taking the Stanislavsky method to its extreme limit.

First Published in Italian as “La Natura Esposta” in 2016 by Feltrinelli.
Translated into French by Danièle Valin as ‘La Nature Exposée’ and published by Gallimard in 2017
*** My translation