While I was waiting for Lila to read, we learned that there was a cholera outbreak in Naples. My mother became excessively agitated, then distracted, finally she broke a soup tureen I was fond of, and announced that she had to go home. I imagined that if the cholera figured heavily in that decision, my refusal to give her name to my new daughter wasn’t secondary. I tried to make her stay but she abandoned me anyway, when I still hadn’t recovered from the birth and my leg was hurting. She could no longer bear to sacrifice months and months of her life to me, a child of hers without respect and without gratitude, she would rather go and die of the cholera bacterium with her husband and her good children. Yet even in the doorway she maintained the impassiveness that I had imposed on her: she didn’t complain, she didn’t grumble, she didn’t reproach me for anything. She was happy for Pietro to take her to the station in the car. She felt that her son-in-law loved her and probably—I thought—she had controlled herself not to please me so that she wouldn’t make a bad impression on him. She became emotional only when she had to part from Dede. On the landing she asked the child in her effortful Italian: Are you sorry that grandma is leaving? Dede, who felt that departure as a betrayal, answered grimly: No.
I was angry with myself, more than with her. Then I was seized by a self-destructive frenzy and a few hours later I fired Clelia. Pietro was amazed, alarmed. I said to him rancorously that I was tired of fighting with Dede’s Maremman accent, with my mother’s Neapolitan one. I wanted to go back to being mistress of my house and my children. In reality I felt guilty and had a great need to punish myself. With desperate pleasure I surrendered to the idea of being overwhelmed by the two children, by my domestic duties, by my painful leg.
I had no doubt that Elsa would compel me to a year no less terrible than the one I’d had with Dede. But maybe because I was more experienced with newborns, maybe because I was resigned to being a bad mother and wasn’t anxious about perfection, the infant attached herself to my breast with no trouble and devoted herself to feeding and sleeping. As a result I, too, slept a lot, those first days at home, and Pietro surprisingly cleaned the house, did the shopping and cooking, bathed Elsa, played with Dede, who was as if dazed by the arrival of a sister and the departure of her grandmother. The pain in my leg suddenly disappeared. And I was in a generally peaceful state when, one late afternoon, as I was napping, my husband came to wake me: Your friend from Naples is on the phone, he said. I hurried to answer.
Lila had talked to Pietro for a long time, she said she couldn’t wait to meet him in person. I listened reluctantly—Pietro was always amiable with people who didn’t belong to the world of his parents—and since she dragged it out in a tone that seemed to me nervously cheerful, I was ready to shout at her: I’ve given you the chance to hurt me as much as possible, hurry up, speak, you’ve had the book for thirteen days, let me know what you think. But I confined myself to breaking in abruptly:
“Did you read it or not?”
She became serious.
“I read it.”
“And so?”
“It’s good.”
“Good how? Did it interest you, amuse you, bore you?”
“It interested me.”
“How much? A little? A lot?”
“A lot.”
“And why?”
“Because of the story: it makes you want to read.”
“And then?”
“Then what?”
I stiffened, and said:
“Lila, I absolutely have to know how this thing that I wrote is and I have no one else who can tell me, only you.”
“I’m doing that.”
“No, it’s not true, you’re cheating me: you’ve never talked about anything in such a superficial way.”
There was a long silence. I imagined her sitting, legs crossed, next to an ugly little table on which the telephone stood. Maybe she and Enzo had just returned from work, maybe Gennaro was playing nearby. She said:
“I told you I don’t know how to read anymore.”
“That’s not the point: it’s that I need you and you don’t give a damn.”
Another silence. Then she muttered something I didn’t understand, maybe an insult. She said harshly, resentful: I do one job, you do another, what do you expect from me, you’re the one who had an education, you’re the one who knows what books should be like. Then her voice broke, she almost cried: You mustn’t write those things, Lenù, you aren’t that, none of what I read resembles you, it’s an ugly, ugly book, and the one before it was, too.
Like that. Rapid and yet strangled phrases, as if her breath, light, a whisper, had suddenly become solid and couldn’t move in and out of her throat. I felt sick to my stomach, a sharp pain above my belly, which grew sharper, but not because of what she said but rather because of how she said it. Was she sobbing? I exclaimed anxiously: Lila, what’s wrong, calm down, come on, breathe. She didn’t calm down. They were really sobs, I heard them in my ear, burdened with such suffering that I couldn’t feel the wound of that ugly, Lenù, ugly, ugly, nor was I offended that she reduced my first book, too—the book that had sold so well, the book of my success, but of which she had never told me what she thought—to a failure. What hurt me was her weeping. I wasn’t prepared, I hadn’t expected it. I would have preferred the mean Lila, I would have preferred her treacherous tone. But no, she was sobbing, and she couldn’t control herself.
I felt bewildered. All right, I thought, I’ve written two bad books, but what does it matter, this unhappiness is much more serious. And I said softly: Lila, why are you crying, I should be crying, stop it. But she shrieked: Why did you make me read it, why did you force me to tell you what I think, I should have kept it to myself. And I: No, I’m glad you told me, I swear. I wanted her to quiet down but she couldn’t, she poured out on me a confusion of words: Don’t make me read anything else, I’m not fit for it, I expect the best from you, I’m too certain that you can do better, I want you to do better, it’s what I want most, because who am I if you aren’t great, who am I? I whispered: Don’t worry, always tell me what you think, that’s the only way you can help me, you’ve helped me since we were children, without you I’m not capable of anything. And finally she smothered her sobs, she said, sniffling: Why did I start crying, I’m an idiot. She laughed: I didn’t want to upset you, I had prepared a positive speech, imagine, I wrote it, I wanted to make a good impression. I urged her to send it, I said, it could be that you know better than I do what I should write. And at that point we forgot the book, I told her that Elsa was born, we talked about Florence, Naples, the cholera. What cholera, she said sarcastically, there’s no cholera, there’s only the usual mess and the fear of dying in shit, more fear than facts, we eat a bag of lemons and no one shits anymore.
Now she talked continuously, without a break, almost cheerful, a weight had been lifted. As a result I began again to feel the bind I was in—two small daughters, a husband generally absent, the disaster of the writing—and yet I didn’t feel anxious; rather, I felt light, and I brought the conversation back to my failure. I had in mind phrases like: the thread is broken, that fluency of yours that had a positive effect on me is gone, now I’m truly alone. But I didn’t say it. I confessed instead in a self-satirizing tone that behind the labor of that book was the desire to settle accounts with the neighborhood, that it seemed to me to represent the great changes that surrounded me, that what had in some way suggested it, encouraging me, was the story of Don Achille and the mother of the Solaras. She burst out laughing. She said that the disgusting face of things alone was not enough for writing a novel: without imagination it would seem not a true face but a mask.