The Neapolitan Novels

39.

That same night Rino, before he went out with Pasquale and Antonio, said, “Marcè, have you seen that car Stefano’s got?”

Marcello, stupefied by the television and by sadness, didn’t even answer.

Then Rino drew his comb out of his pocket, pulled it through his hair, and said cheerfully: “You know that he bought our shoes for twenty-five thousand lire?”

“You see he’s got money to throw away,” Marcello answered, and Melina burst out laughing, it wasn’t clear if she was reacting to that remark or to what was showing on the television.

From that moment Rino found a way, night after night, to annoy Marcello, and the atmosphere became increasingly tense. Besides, as soon as Solara, who was always greeted kindly by Nunzia, arrived, Lila disappeared, saying she was tired, and went to bed. One night Marcello, very depressed, talked to Nunzia.

“If your daughter goes to bed as soon as I arrive, what am I coming here for?”

Evidently he hoped that she would comfort him, saying something that would encourage him to persevere. But Nunzia didn’t know what to say and so he stammered, “Does she like someone else?”

“But no.”

“I know she goes to do the shopping at Stefano’s.”

“And where should she go, my boy, to do the shopping?”

Marcello was silent, eyes lowered.

“She was seen in the car with the grocer.”

“Lenuccia was there, too: Stefano is interested in the porter’s daughter.”

“Lenuccia doesn’t seem to me a good companion for your daughter. Tell her not to see her anymore.”

I was not a good companion? Lila was not supposed to see me anymore? When my friend reported that request of Marcello’s I went over conclusively to Stefano’s side and began to praise his tactful ways, his calm determination. “He’s rich,” I said to her finally. But even as I said that I realized how the idea of the riches girls dreamed of was changing further. The treasure chests full of gold pieces that a procession of servants in livery would deposit in our castle when we published a book like Little Women—riches and fame—had truly faded. Perhaps the idea of money as a cement to solidify our existence and prevent it from dissolving, together with the people who were dear to us, endured. But the fundamental feature that now prevailed was concreteness, the daily gesture, the negotiation. This wealth of adolescence proceeded from a fantastic, still childish illumination—the designs for extraordinary shoes—but it was embodied in the petulant dissatisfaction of Rino, who wanted to spend like a big shot, in the television, in the meals, and in the ring with which Marcello wanted to buy a feeling, and, finally, from step to step, in that courteous youth Stefano, who sold groceries, had a red convertible, spent forty-five thousand lire like nothing, framed drawings, wished to do business in shoes as well as in cheese, invested in leather and a workforce, and seemed convinced that he could inaugurate a new era of peace and well-being for the neighborhood: it was, in short, wealth that existed in the facts of every day, and so was without splendor and without glory.

“He’s rich,” I heard Lila repeat, and we started laughing. But then she added, “Also nice, also good,” and I agreed, these last were qualities that Marcello didn’t have, a further reason for being on Stefano’s side. Yet those two adjectives confused me, I felt that they gave the final blow to the shine of childish fantasies. No castle, no treasure chest—I seemed to understand—would concern Lila and me alone, intent on writing our Little Women. Wealth, incarnated in Stefano, was taking the form of a young man in a greasy apron, was gaining features, smell, voice, was expressing kindness and goodness, was a male we had known forever, the oldest son of Don Achille.

I was disturbed.

“But he wanted to prick your tongue,” I said.

“He was a child,” she answered, with emotion, sweet as I had never heard her before, so that only at that moment did I realize that she was much farther along than what she had said to me in words.

In the following days everything became clearer. I saw how she talked to Stefano and how he seemed shaped by her voice. I adapted to the pact they were making, I didn’t want to be cut out. And we plotted for hours—the two of us, the three of us—to act in a way that would quickly silence people, feelings, the arrangement of things. A worker arrived in the space next to the shoe shop and took down the dividing wall. The shoemaker’s shop was reorganized. Three nearly silent apprentices appeared, country boys, from Melito. In one corner they continued to do resoling, in the rest of the space Fernando arranged benches, shelves, his tools, his wooden forms according to the various sizes, and began, with sudden energy, unsuspected in a man so thin, consumed by a bitter discontent, to talk about a course of action.

Just that day, when the new work was about to begin, Stefano showed up. He carried a package done up in brown paper. They all jumped to their feet, even Fernando, as if he had come for an inspection. He opened the package, and inside were a number of small pictures, all the same size, in narrow brown frames. They were Lila’s notebook pages, under glass, like precious relics. He asked permission from Fernando to hang them on the walls, Fernando grumbled something, and Stefano had Rino and the apprentices help him put in the nails. When the pictures were hung, Stefano asked the three helpers to go get a coffee and handed them some lire. As soon as he was alone with the shoemaker and his son, he announced quietly that he wanted to marry Lila.

An unbearable silence fell. Rino confined himself to a knowing little smile and Fernando said finally, weakly, “Stefano, Lina is engaged to Marcello Solara.”

“Your daughter doesn’t know it.”

“What do you mean?”

Rino interrupted, cheerfully: “He’s telling the truth: you and Mamma let that shit come to our house, but Lina never wanted him and doesn’t want him.”

Fernando gave his son a stern look. The grocer said gently, looking around: “We’ve started out on a job now, let’s not get worked up. I ask of you a single thing, Don Fernà: let your daughter decide. If she wants Marcello Solara, I will resign myself. I love her so much that if she’s happy with someone else I will withdraw and between us everything will remain as it is now. But if she wants me—if she wants me—there’s no help for it, you must give her to me.”

“You’re threatening me,” Fernando said, but halfheartedly, in a tone of resigned observation.

“No, I’m asking you to do what’s best for your daughter.”

“I know what’s best for her.”

“Yes, but she knows better than you.”

And here Stefano got up, opened the door, called me, I was waiting outside with Lila.

“Lenù.”

We went in. How we liked feeling that we were at the center of those events, the two of us together, directing them toward their outcome. I remember the extreme tension of that moment. Stefano said to Lila, “I’m saying to you in front of your father: I love you, more than my life. Will you marry me?”

Lila answered seriously, “Yes.”

Fernando gasped slightly, then murmured, with the same subservience that in times gone by he had manifested toward Don Achille: “We’re offending not only Marcello but all the Solaras. Who’s going to tell that poor boy?”

Lila said, “I will.”