I kept depression at bay, I called Lila less. Now I no longer hoped, but feared, feared she would say: Do you want to read these pages I’ve written, I’ve been working for years, I’ll send them by e-mail. I had no doubts about how I would react if I discovered that she really had irrupted into my professional identity, emptying it. I would certainly remain admiring, as I had with The Blue Fairy. I would publish her text without hesitation. I would exert myself to make it successful in every way possible. But I was no longer that little being who had had to discover the extraordinary qualities of her classmate. Now I was a mature woman with an established profile. I was what Lila herself, sometimes joking, sometimes serious, had often repeated: Elena Greco, the brilliant friend of Raffaella Cerullo. From that unexpected reversal of destinies I would emerge annihilated.
But in that phase things were still going well for me. A full life, a still youthful appearance, the obligations of work, a reassuring fame didn’t leave much room for those thoughts, reduced them to a vague uneasiness. Then came the bad years. My books sold less. I no longer had my position in the publishing house. I gained weight, I lost my figure, I felt old and frightened by the possibility of an old age of poverty, without fame. I had to acknowledge that, while I was working according to the mental approach I had imposed decades earlier, everything was different now, including me.
In 2005 I went to Naples, I saw Lila. It was a difficult day. She was further changed, she tried to be sociable, she neurotically greeted everyone, she talked too much. Seeing Africans, Asians in every corner of the neighborhood, smelling the odors of unknown cuisines, she became excited, she said: I haven’t traveled around the world like you, but, look, the world has come to me. In Turin by now it was the same, and I liked the invasion of the exotic, how it had been reduced to the everyday. Yet only in the neighborhood did I realize how the anthropological landscape had altered. The old dialect had immediately taken in, according to an established tradition, mysterious languages, and meanwhile it was dealing with different phonic abilities, with syntaxes and sentiments that had once been very distant. The gray stone of the buildings had unexpected signs, old trafficking, legal and illegal, was mixed with new, the practice of violence opened up to new cultures.
That was when the news spread of Gigliola’s corpse in the gardens. At the time we still didn’t know that she had died of a heart attack, I thought she had been murdered. Her body, supine on the ground, was enormous. How she must have suffered from that transformation, she who had been beautiful and had caught the handsome Michele Solara. I am still alive—I thought—and yet I can’t feel any different from that big body lying lifeless in that sordid place, in that sordid way. It was so. Although I paid excessive attention to my appearance, I no longer recognized myself, either: I moved more hesitantly, my physical expression was not what I had been used to for decades. As a girl I had felt so different and now I realized that I was like Gigliola.
Lila, on the other hand, seemed not to notice old age. She moved with energy, she shouted, she greeted people with expansive gestures. I didn’t ask her, yet again, about her possible text. Whatever she said I was certain that it wouldn’t reassure me. I didn’t know how to get out of this depression, what to hold on to. The problem was no longer Lila’s work, or its quality, or at least I didn’t need to be aware of that threat to feel that everything I had written, since the end of the sixties, had lost weight and force, no longer spoke to an audience as it seemed to me it had done for decades, had no readers. Rather, on that melancholy occasion of death, I realized that the very nature of my anguish had changed. Now I was distressed that nothing of me would endure through time. My books had come out quickly and with their minor success had for decades given me the illusion of being engaged in meaningful work. But suddenly the illusion faded, I could no longer believe in the importance of my work. On the other hand, for Lila, too, everything had passed by: she led an obscure life; shut up in her parents’ small apartment, she filled the computer with impressions and thoughts. And yet, I imagined, there was the possibility that her name—whether it was just a ribbon or not—now that she was an old woman, or even after her death, would be bound to a single work of great significance: not the thousands of pages that I had written, but a book whose success she would never enjoy, as I instead had done with mine, yet that nevertheless would endure through time and would be read and reread for hundreds of years. Lila had that possibility, I had squandered it. My fate was no different from Gigliola’s, hers might be.