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| ISBN-13: | 9780802191151 |
|---|---|
| Publisher: | Grove/Atlantic, Inc. |
| Publication date: | 04/01/2018 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 280 |
| Sales rank: | 363,200 |
| File size: | 1 MB |
CHAPTER 1
AFA
HOW TO FORGET THE DAY we arrived in Montecchio? How to even begin to describe the weather to someone who has not been in the Veneto in July? For the weather must surely have played its part in how things went.
We're not talking about heat, really. Or that's only part of the problem. The temperature is maybe only 88 or 90, which is not impossibly hot. One has managed with 95 and more on beaches down south or in the mountains. But there is no sunshine with this heat today, no blue sky, no color, no air. Above you — and it doesn't seem very far above you either — is a uniform, oppressive, at once damp and gritty grayness, the sun only a suspicion somewhere, a blond thumbprint, a smudge. Nor is there the slightest inkling that this strange, simmering, spongy atmosphere is going to roll itself up into some kind of raincloud or liberating storm. There's not a breath, not a whisper of wind.
You don't notice it perhaps in the town, but as you leave Verona, heading east, you suddenly become aware how miserable visibility is. The hills immediately to the north whose cherry blossoms you enjoyed so much in spring, the toothy peaks of the Alps which were so dramatic in sharp and slanting winter light, have all disappeared. Perhaps you're not seeing more than a couple of miles. And if — and God forbid — you were to turn south into the Bassa Padana itself, Po-bound across the open plain, you might well find, beyond Nogarole Rocca, toward Mantua, a sort of brilliant gray heat fog, so dense the world will seem a haze and the other cars ghosts, and the vines and fruit trees and towering maize and tobacco plants one vast steaming minestrone of a landscape....
But we are going to Montecchio, which, like Verona itself, lies at the foot of those first now invisible hills that mark the beginning of the long climb up to the Alps. And curiously it is the Alps, one is always told, which are one of the guilty parties as far as this weather is concerned. But only in the sense that they shut out the merciful winds that might otherwise blow away everything that makes the atmosphere in the plain so unpleasant: the slow accumulation of exhaust fumes, the exhalations of a thousand pig and chicken factories, and the abundant insecticides that hover and mingle in the stale air over what otherwise, or in other weather, would be scenes of exquisite beauty.
The local name for the whole phenomenon is afa — or lo smog (pronounced "zzzmog"). One picks one's shirt away from armpits and feels uncomfortable about the crotch. The only thing close to it in British terms perhaps is a packed Friday-afternoon rush hour on bus or train when the Standard has taken up half its front page to tell you WHAT A SIZZLER!
But just at the moment we are traveling behind the rusty white Fiat 127 of our future padrona di casa. We are going to see and, we hope, move into a 1200-square-foot flat in the outlying village of Montecchio. Hence our own car, an aging tangerine Volkswagen Passat, is loaded to the stops with all our worldly belongings; the trunk is held down by shotcord over piles of boxes, the handlebar of one of our bicycles is creeping down the windshield.
Across the toneless, almost invisible countryside, the narrow road is flanked by low cement walls, deep flood emergency dikes, dusty poplars, cypresses, vines. We pass an occasional peasant figure, broad-butted on his puttering motorino, helmetless, cigarette in the corner of his mouth. Or it might be a woman, shopping bag between fat knees, kerchief tight on gray hair, monumental somehow despite precarious movement, the face so grimly set. Other vehicles our cautious guide chooses to overtake are a tractor with an aging dog balancing on the mudguard and a three-wheeled furgoncino, a sort of motorized wheelbarrow with tiny cabin, handlebar drive, and a pile of scrap metal rattling perilously behind. Meanwhile we ourselves are overtaken by bikes so white and fast my side mirror doesn't appear to register them, space-suited riders flashing into the distance, and then of course the usual chase of black or metallic Mercedeses, Alfas, Lancias, BMWs. It was a traffic mix, a social mix, with which one was to become familiar.
Perhaps ten minutes out of town, without any noticeable change of speed, we find we are in a built-up area again; first a loose alignment of stuccoed houses, then the broad open space of Montecchio's main, Montecchio's only real piazza: small shops, tall cedars in two patches of scrubby green, a gas pump with a weighbridge for trucks, a war memorial. All at once, the buildings close in, the road narrows drastically, the pavement on each side rises to three feet above ground level. Stout legs and slim are barely a foot from the passenger window. And still the traffic doesn't change speed. We emerge, cross a bridge, wind left past the glaring heterogeneity of a huge new red-brick church, then more bridges, ditches and streams, until, just before the road climbs out of the village and into the hills, our would-be padrona indicates left and we are in Via Colombare.
Narrow, perhaps two hundred yards long, and straight as straight, Via Colombare achieves an exquisite confusion of invading suburbia and peasant tradition. It is where furgoncino and Mercedes both come home to lunch. Closely packed along either side, the houses are all different: two, three, or four stories, one facing this way, one that, some centuries old, others new, handsome or poverty-stricken, crude or lavish; one pink-stuccoed, one blue, one green, many with just bare, pitted concrete the same grim color as today's unpromising sky. There may be a new Alfa 75 drawn up outside one door, and a decrepit straw-hatted grandfather on rickety chair parked outside the next. To add to the sense of emblematic collision, from the far end of the street a painted Madonna gazes from her shrine in the wall of a cherry orchard, right along the flat ribbon of patchy asphalt to where a derelict bottling factory is due for redevelopment opposite.
There is no sidewalk in Via Colombare. The front doors of most of the older, poorer houses thus open directly onto the hot asphalt. Their owners have to remember to keep their window shutters tied back lest a truck (presumably lost) carry them away (one day an old stone balcony went). And where the newer houses of urban arrivals or contadini made good are set back from the road, or perhaps there is a garden, the welcome breathing space that might result is lost because of the obsession with tall and elaborate iron railings as an indicator of wealth. Likewise gates must be tall and iron and complicated and where possible rendered all the more impressive by the addition of little brick and stucco shelters with terra-cotta roofs.
It was by these gates, as we parked the car, and by the humbler doorways with their fly curtains, as we climbed out, that the street's inhabitants had begun, if not quite to gather, then at least to appear: a heavy woman with the alibi of a broom, a man not quite intent on forcing his dog into the trunk of his car, others with no more excuse than the walls or railings they were leaning on. And it was impossible not to get the feeling that they were there to watch us. Not in any way suspiciously, not with hostility. But with curiosity, yes. With definite and considerable interest.
Well, we felt uncomfortable enough with the heat, the humidity. It was possible we looked out of sorts. And of course we were aware by now that Italians don't drive bright orange cars (or bright yellow or green cars for that matter) and that the owners of such cars are looked upon with a certain amount of condescension and immediately understood to be Germans, an epithet more or less synonymous with bad taste. Then despite our new Verona plates we still had that old GB sticker on the back, and so could be, what, from Gibiltena, it has often been suggested. Yes, we were used to all this; in a mild lighthearted kind of way perhaps we even cultivated it, for it is fun to be foreign, at least for a year or two. But however far out in the country we were, an orange car and an air of disorientation and discomfort were not usually enough to get ten or fifteen people hanging around their doors in the glaring heat to watch us. And so soon after lunch too. Did they know something we didn't? Were they expecting a show?
Our future padrona was nervous, clumsily pushing the wrong key into the gate of what was certainly the most modern building on the street: newish lime-green stucco with a graffiato finish, huge, broad, quite superfluous Californian eaves, double-glazed glass front door, a large terrace balcony for each of the four flats. She made no comment on the watching faces around us; they did not surprise her. Was it safe to assume that what they knew, she knew too? And why had she insisted, so uncharacteristically for an Italian, on arranging our meeting at a time when most people were resting, shutters half drawn, dazed by the combination of heavy lunch and humid heat?
Quite unprompted now, and in a nervous attempt to be offhand, this dry, thin-faced, intelligent woman with her small bright brown eyes was telling us about some gynecological problem she had. She'd been to the clinic again this morning. All the tests doctors made one do nowadays. The time, the expense. Especially when one more or less had to go privately if one was to get any decent service. But who could afford to risk the unnamable diseases? You know how it is. Her hand was shaking. She was having terrible trouble with her bunch of keys, forcing quite improbable versions into the lock on the gate.
My wife and I exchanged glances, looked about us. The sun did not so much lie along the street like a white hot poker, as it would do later in August and September; it was more that the whole scene, the scarred asphalt, the flaking stone or cement of the walls, the gardens, the vines, the dusty ivies, were fizzing with light. Everything glared.
"Eccoci!" The gate snapped open. And at that precise moment Lucilla appeared on a balcony above us and began to shout, or rather to yell, to shriek, to scream.
Lucilla was, is, a short, squat woman, big-breasted, fat, more than round-faced, tinted hair thinning almost to baldness, teeth with the quality of bones, set apart from each other and slightly protruding. Certainly the general impression she gave us that first day in Montecchio was not improved by the fact that every feature was contorted with rage.
This, then, was what the inhabitants of Via Colombare had been waiting for. The tubby woman danced and screamed on her balcony. Her voice filled the air in the narrow street. She pointed down at us, waving her arm as if to hurl anathema and excommunication.
I had been in Italy just over a year at the time. I lay no claims to being a linguist, but I think I had reached the point where I understood perhaps 80 percent of what was spoken directly to me, and say 50 percent (far more than enough) of what was merely said in my presence. But that afternoon I could identify not one syllable of what Signora Lucilla was so urgently bawling.
I turned to Rita for help. She understood very little more than I did. This was not apparently the local dialect. Which was reassuring. On the balcony above us the little woman continued to be galvanized by rage. A quite extraordinary energy. As if determined to spit out her teeth at us by dint of shrieking.
"Pazza," Signora Marta said firmly. "Crazy." She was refusing to look up and acknowledge the tirade. "Completamente pazza. It's the afa." By great good luck she got the key to the glass front door first time and we were inside; there were creamy marble stairs, a feeling akin to coolness, tropical plants, a reduction in the noise level, but absolutely no time to lose. Up we panted past the two ground-floor flats on the first landing with their funereal polished-wood doors and round brass knobs; on we rushed to the second landing, where an identical pair of doors again faced each other like diametrically opposed choices in some Masonic trial. Our padrona knew to go left. Out came the keys again amid growing nervousness. Ah, finalmente! But no, there was still the security lock. And Lucilla simply exploded from the door opposite.
Later I came to think of Lucilla's story as something that in England would be exclusively the stuff of nineteenth-century novels — child labor and deprivation, uncertain inheritance, death-bed fawning, wills burned or buried and others with forged signatures or clauses added under duress with the complicity of generously bribed physicians — a world where money was not sensibly regulated by the likes of pension funds and insurance policies. I remember planning a novel around Lucilla, but then thought nobody would believe it, they'd think I'd been reading too much Dickens, was stealing passages from Middlemarch. Hence in describing now the scene that followed, it seems natural to use expressions like "her bosom heaved," for heave it did, and greatly; or "eyes and cheeks were blown out with apoplexy," for blown out they most certainly were. Smaller even than I had imagined, and bigger-breasted, Lucilla stamped a high-heeled foot as if to strike sparks from the marble. Her heavy jowls quivered. The blue print dress stretched and strained about her. Tears of rage rolled down her cheeks. And now we began to understand something. Her shouting had resolved itself into a simple chant of "È mio, è mio, l'appartamento è mio!" — It's mine, it's mine, the flat is mine! She grabbed the other woman and shook her. She spat. As for ourselves, it was as if we hadn't existed. Which was just as well.
Still fumbling with her keys — I wished she would give them to me — Signora Marta at last lost her nerve. So far she had been playing cool city woman to this ill-bred peasant savagery. Now she too began to shout. "You need a doctor, signora, a psicologo!" And in her eagerness to get away from the unpleasant scene, she yanked quite viciously at the key in the security lock and it snapped in her hands.
Silence. Surprise. Then Lucilla was saying, "Grazie Gesù, grazie!" Behind her back, after swiftly making the sign of the cross, her hands seemed to be trying to loosen some girdle or brassiere. Her face was purple: "Maria santissima, grazie!" The key had broken. We couldn't get in. It was a sign from God. It was proof of her claim to ownership. She was weeping for joy. Signora Marta led us in a hasty retreat down the stairs. As we drove away, the onlookers were already converging on the house for news of how the battle had gone.
CHAPTER 2IELLA
OVER ESPRESSO IN A BAR back in Verona, Signora Marta endeavored to reassure us. That ignorant old strega, witch, had run the cleaning company for which Marta's uncle — Patuzzi — had done the accounts. When the company was sold off, Lucilla and her brother Giosuè and sister-in-law Vittorina had built the palazzina in Via Colombare together with Patuzzi so that they could all retire happily together. Lucilla's daughter had been supposed to move into the fourth flat but hadn't wanted to be near her mother. Signora Marta pouted thin lips and tapped a city nose, as if to say, "And we know why, don't we?" In any event, Lucilla had somehow got it into her head that the whole palazzina had been built with her money — that is, the company's money — and that all flats would revert to her or her heirs on the death of the occupant. "Can you imagine anything so crazy?" Uncle Patuzzi had died a year ago. His wife, Maria Rosa, Marta's aunt, had hung on in the flat a year longer, but was ill, infirm, and constantly harangued by an ever more threatening Lucilla, with whom she had never andata d'accordo, being herself from an altogether different social class. Now the old lady, poveretta, had gone into a home, mainly to escape Lucilla, and she, Signora Marta, as future heir and present administrator, needed to make some money out of the place, if only, as we would surely appreciate, to pay the various bills and taxes. No sooner were we actually in the flat than Lucilla would accept the situation, this afternoon's outburst being anyway mainly due to this abysmal weather, which could play havoc with anyone's nerves.
(Continues…)
Excerpted from "Italian Neighbors"
by .
Copyright © 1992 Tim Parks.
Excerpted by permission of Grove Atlantic, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
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