In fact I don’t know what offended her, a detail, or the whole story. A Friendship had the quality, in my opinion, of being linear. It told concisely, with the necessary disguises, the story of our lives, from the loss of the dolls to the loss of Tina. Where had I gone wrong? I thought for a long time that she was angry because, in the final part, although resorting to imagination more than at other points of the story, I related what in fact had happened in reality: Lila had given Imma more importance in Nino’s eyes, in doing so had been distracted, and as a result lost Tina. But evidently what in the fiction of the story serves in all innocence to reach the heart of the reader becomes an abomination for one who feels the echo of the facts she has really lived. In other words I thought for a long time that what had assured the book’s success was also what had hurt Lila most.
Later, however, I changed my mind. I’m convinced that the reason for her repudiation lay elsewhere, in the way I recounted the episode of the dolls. I had deliberately exaggerated the moment when they disappeared into the darkness of the cellar, I had accentuated the trauma of the loss, and to intensify the emotional effects I had used the fact that one of the dolls and the lost child had the same name. The whole led the reader, step by step, to connect the childhood loss of the pretend daughters to the adult loss of the real daughter. Lila must have found it cynical, dishonest, that I had resorted to an important moment of our childhood, to her child, to her sorrow, to satisfy my audience.
But I am merely piecing together hypotheses, I would have to confront her, hear her protests, explain myself. Sometimes I feel guilty, and I understand her. Sometimes I hate her for this decision to cut me off so sharply right now, in old age, when we are in need of closeness and solidarity. She has always acted like that: when I don’t submit, see how she excludes me, punishes me, ruins even my pleasure in having written a good book. I’m exasperated. Even this staging of her own disappearance, besides worrying me, irritates me. Maybe little Tina has nothing to do with it, maybe not even her ghost, which continues to obsess Lila both in the more enduring form of the child of nearly four, and in the labile form of the woman who today, like Imma, would be thirty. It’s only and always the two of us who are involved: she who wants me to give what her nature and circumstances kept her from giving, I who can’t give what she demands; she who gets angry at my inadequacy and out of spite wants to reduce me to nothing, as she has done with herself, I who have written for months and months and months to give her a form whose boundaries won’t dissolve, and defeat her, and calm her, and so in turn calm myself.