We left the bookstore. Adele, tactfully, went ahead with Tarratano, Nino and I followed. But I immediately found that I didn’t know what to say to him, I was afraid that every word would be wrong. He made sure there were no silences. He praised my book again, he went on to speak with great respect of the Airotas (he called them “the most civilized of the families who count for something in Italy”), he said he knew Mariarosa (“She’s always on the front lines: two weeks ago we had a big argument”), he congratulated me because he had learned from Adele that I was engaged to Pietro, whose book on Bacchic rites he seemed to know, amazing me; but he spoke with respect especially of the father, Professor Guido Airota, “a truly exceptional man.” I was a little annoyed that he already knew of my engagement, and it made me uneasy that the praise of my book had served as an introduction to the far more insistent praise of Pietro’s entire family, Pietro’s book. I interrupted him, I asked him about himself, but he was vague, with only a few allusions to a small volume coming out that he called boring but obligatory. I pressed him, I asked if he had had a hard time during his early days in Milan. He answered with a few generic remarks about the problems of coming from the South without a cent in your pocket. Then out of the blue he asked me:
“Are you living in Naples again?”
“For now, yes.”
“In the neighborhood?”
“Yes.”
“I’ve broken conclusively with my father, and I don’t see anyone in my family.”
“Too bad.”
“It’s better that way. I’m just sorry not to have any news of Lina.”
For a moment I thought I’d been wrong, that Lila had never gone out of his life, that he had come to the bookstore not for me but only to find out about her. Then I said to myself: if he had really wanted to find out about Lila, in so many years he would have found a way, and I reacted violently, in the sharp tone of someone who wants to end the subject quickly:
“She left her husband and lives with someone else.”
“Did she have a boy or a girl?”
“A boy.”
He made a grimace of displeasure and said: “Lina is brave, even too brave. But she doesn’t know how to submit to reality, she’s incapable of accepting others and herself. Loving her was a difficult experience.”
“In what sense?”
“She doesn’t know what dedication is.”
“Maybe you’re exaggerating.”
“No, she’s really made badly: in her mind and in everything, even when it comes to sex.”
Those last words—even when it comes to sex—struck me more than the others. So Nino’s judgment on his relationship with Lila was negative? So he had just said to me, disturbingly, that that opinion included even the sexual arena? I stared for some seconds at the dark outlines of Adele and her friend walking ahead of us. The disturbance became anxiety, I sensed that even when it comes to sex was a preamble, that he wished to become still more explicit. Years earlier, Stefano, after his marriage, had confided in me, had told me about his problems with Lila, but he had done so without ever mentioning sex—no one in the neighborhood would have in speaking of the woman he loved. It was unthinkable, for example, that Pasquale would talk to me about Ada’s sexuality, or, worse, that Antonio would speak to Carmen or Gigliola about my sexuality. Boys might talk among themselves—and in a vulgar way, when they didn’t like us girls or no longer liked us—but among boys and girls no. I guessed instead that Nino, the new Nino, considered it completely normal to discuss with me his sexual relations with my friend. I was embarrassed, I pulled back. Of this, too, I thought, I must never speak to Lila, and meanwhile I said with feigned indifference: water under the bridge, let’s not be sad, let’s go back to you, what are you working on, what are your prospects at the university, where do you live, by yourself? But I certainly overdid it; he must have felt that I had made a quick escape. He smiled ironically, and was about to answer. But we had arrived at the restaurant, and we went in.