Under the Tuscan Sun: At Home In Italy

by Frances Mayes

Overview

#1 NEW YORK TIMES BESTSELLER • The beloved memoir of self-discovery set against the spectacular Tuscan countryside that inspired the major motion picture starring Diane Lane—now in a twentieth-anniversary edition featuring a new afterword
 
“This beautifully written memoir about taking chances, living in Italy, loving a house and, always, the pleasures of food, would make a perfect gift for a loved one. But it’s so delicious, read it first yourself.”—USA Today

For more Frances Mayes, including a tour of her now iconic Cortona home, Bramasole, watch PBS’s Dream of Italy: Tuscan Sun Special!
 
More than twenty years ago, Frances Mayes—widely published poet, gourmet cook, and travel writer—introduced readers to a wondrous new world when she bought and restored an abandoned Tuscan villa called Bramasole. Under the Tuscan Sun inspired generations to embark on their own journeys—whether that be flying to a foreign country in search of themselves, savoring one of the book’s dozens of delicious seasonal recipes, or simply being transported by Mayes’s signature evocative, sensory language. Now with a new afterword from Frances Mayes, the twentieth-anniversary edition of Under the Tuscan Sun revisits the book’s most popular characters.

Product Details

ISBN-13:	9780767900386
Publisher:	Crown Publishing Group
Publication date:	09/02/1997
Edition description:	Reprint
Pages:	320
Sales rank:	62,594
Product dimensions:	7.96(w) x 10.86(h) x 0.82(d)

About the Author

Frances Mayes is the author of the now-classic Under the Tuscan Sun, which was a New York Times bestseller for more than two and a half years and became a Touchstone movie starring Diane Lane. Other international bestsellers include Bella Tuscany, Everyday in Tuscany, A Year in the World, and three illustrated books: In Tuscany, Bringing Tuscany Home, and The Tuscan Sun Cookbook. She is also the author of two novels, Swan and Women in Sunlight. She has written six books of poetry and The Discovery of Poetry. The most recent books are See You in the Piazza and Always Italy. Her books have been translated into more than fifty languages.

Read an Excerpt

Bramare: (Archaic) To Yearn For

I am about to buy a house in a foreign country. A house with the beautiful name of Bramasole. It is tall, square, and apricot-colored with faded green shutters, ancient tile roof, and an iron balcony on the second level, where ladies might have sat with their fans to watch some spectacle below. But below, overgrown briars, tangles of roses, and knee-high weeds run rampant. The balcony faces southeast, looking into a deep valley, then into the Tuscan Apennines. When it rains or when the light changes, the facade of the house turns gold, sienna, ocher; a previous scarlet paint job seeps through in rosy spots like a box of crayons left to melt in the sun. In places where the stucco has fallen away, rugged stone shows what the exterior once was. The house rises above a strada bianca, a road white with pebbles, on a terraced slab of hillside covered with fruit and olive trees. Bramasole: from bramare, to yearn for, and sole, sun: something that yearns for the sun, and yes, I do.

The family wisdom runs strongly against this decision. My mother has said ‘‘Ridiculous,’’ with her certain and forceful stress on the second syllable, ‘‘RiDICulous,’’ and my sisters, although excited, fear I am eighteen, about to run off with a sailor in the family car. I quietly have my own doubts. The upright seats in the notaio’s outer office don’t help. Through my thin white linen dress, spiky horsehairs pierce me every time I shift, which is often in the hundred-degree waiting room. I look over to see what Ed is writing on the back of a receipt: Parmesan, salami, coffee, bread. How can he? Finally, the signora opens her door and her torrential Italian flows over us.

The notaio is nothing like a notary; she’s the legal person who conducts real-estate transactions in Italy. Ours, Signora Mantucci, is a small, fierce Sicilian woman with thick tinted glasses that enlarge her green eyes. She talks faster than any human I have ever heard. She reads long laws aloud. I thought all Italian was mellifluous; she makes it sound like rocks crashing down a chute. Ed looks at her raptly; I know he’s in thrall to the sound of her voice. The owner, Dr. Carta, suddenly thinks he has asked too little; he must have, since we have agreed to buy it. We think his price is exorbitant. We know his price is exorbitant. The Sicilian doesn’t pause; she will not be interrupted by anyone except by Giuseppe from the bar downstairs, who suddenly swings open the dark doors, tray aloft, and seems surprised to see his Americani customers sitting there almost cross-eyed in confusion. He brings the signora her midmorning thimble of espresso, which she downs in a gulp, hardly pausing. The owner expects to claim that the house cost one amount while it really cost much more. ‘‘That is just the way it’s done,’’ he insists. ‘‘No one is fool enough to declare the real value.’’ He proposes we bring one check to the notaio’s office, then pass him ten smaller checks literally under the table.

Anselmo Martini, our agent, shrugs.

Ian, the English estate agent we hired to help with translation, shrugs also.

Dr. Carta concludes, ‘‘You Americans! You take things so seriously. And, per favore, date the checks at one-week intervals so the bank isn’t alerted to large sums.’’

Was that the same bank I know, whose sloe-eyed teller languidly conducts a transaction every fifteen minutes, between smokes and telephone calls? The signora comes to an abrupt halt, scrambles the papers into a folder and stands up. We are to come back when the money and papers are ready.

Table of Contents

Preface	1
Bramare: (Archaic) To Yearn For	5
A House And The Land It Takes Two	24
Sister Water, Brother Fire	41
The Wild Orchard	63
Whir Of The Sun	75
Festina Tarde (Make Haste Slowly)	90
A Long Table Under The Trees	107
Summer Kitchen Notes	124
Cortona, Noble City	138
Riva, Maremma: Into Wildest Tuscany	159
Turning Italian	180
Green Oil	194
Floating World: A Winter Season	205
Winter Kitchen Notes	220
Rose Walk	234
Sempre Pietra (Always Stone)	242
Relics Of Summer	258
Solleone	271

Reading Group Guide

1. "What are you growing here?" is the first line of Under the Tuscan Sun. In what ways does that question symbolize how the book came about? What does it say about Frances Mayes's life in Italy, and about her life in general?

2. Mayes writes of the traumatic experience of selling one house and purchasing another on various occasions in the United States. Why is the purchase of her house in Italy so qualitatively different from her other experiences with home ownership?

3. "The house is a metaphor for the self," Frances Mayes writes. Discuss some examples of this, both in her life and in your own.

4. What makes Mayes's writing style effective? How does her particular voice make her descriptions come alive? What images did you find to be particularly striking?

5. What are some of the qualities of Italian life that contrast most sharply with American culture? Which aspects of Italian life did Frances and Ed find it important to incorporate into their own lives? Which aspects would you have been drawn to?

6. How does the experience of purchasing and renovating Bramasole impact Frances and Ed's relationship, and how does their interaction affect their shared experience of buying, owning, and living in Bramasole?

7. How does the author change as the book progresses? How are her changes reflected in her tone and in her writing?

8. Mayes's house is called "Bramasole," which literally means "yearning for the sun." However, soon after she purchases the house, Mayes dreams that its real name is "Centi Angeli," or "one hundred angels." Discuss the ways in which this proves to be a premonitory dream. What are some of the other discoveries made throughout Bramasole and its grounds that lend a magical feeling to the house?

9. What role does food play, both metaphorically and literally, in the sense of delight that deepens Mayes's relationship to Tuscany and the house itself?

10. Mayes often portrays life in Cortona as timeless. How does she also convey that the timelessness is in many ways just an illusion? How does the "sense of endless time" affect her household?

11. What is Mayes's philosophy about the friend who speaks disparagingly of contemporary Italy and says it's "getting to be just like everywhere else—homogenized and Americanized" (p. 110)? How does Mayes's response address globalization in general?

12. Mayes's loving descriptions of food, her recipes, and her gardening tips add sensuality to the book, but what are some of their other functions in Under the Tuscan Sun?

13. What is Mayes's advice to readers who have "the desire to surprise your own life" (p. 191)? How would you respond to this impulse? What are some of the benefits and drawbacks to the time of life Mayes chose for embarking on a major change? Discuss some of your own turning points and "forks in the road."

14. Although Under the Tuscan Sun isn't a novel, would you say that in many ways it reads like one? If so, what is the spring, the inner tension, that propels the book forward and shapes its form?

15. Besides presenting us with wonderful descriptions of food, scenery, and people, what is the other major impetus of Under the Tuscan Sun?

16. As the book draws to a close, Mayes asks rhetorically, "Doesn't everything reduce in the end to a poetic image—one that encapsulates an entire experience in one stroke?" (p. 256). In your opinion, which image or scene best "encapsulates the entire experience" of Mayes's time in Italy?

Foreword

1. "What are you growing here?" is the first line of Under the Tuscan Sun. In what ways does that question symbolize how the book came about? What does it say about Frances Mayes's life in Italy, and about her life in general?

2. Mayes writes of the traumatic experience of selling one house and purchasing another on various occasions in the United States. Why is the purchase of her house in Italy so qualitatively different from her other experiences with home ownership?

3. "The house is a metaphor for the self," Frances Mayes writes. Discuss some examples of this, both in her life and in your own.

4. What makes Mayes's writing style effective? How does her particular voice make her descriptions come alive? What images did you find to be particularly striking?

5. What are some of the qualities of Italian life that contrast most sharply with American culture? Which aspects of Italian life did Frances and Ed find it important to incorporate into their own lives? Which aspects would you have been drawn to?

6. How does the experience of purchasing and renovating Bramasole impact Frances and Ed's relationship, and how does their interaction affect their shared experience of buying, owning, and living in Bramasole?

7. How does the author change as the book progresses? How are her changes reflected in her tone and in her writing?

8. Mayes's house is called "Bramasole," which literally means "yearning for the sun." However, soon after she purchases the house, Mayes dreams that its real name is "Centi Angeli," or "one hundred angels." Discuss the ways in which this proves to be a premonitorydream. What are some of the other discoveries made throughout Bramasole and its grounds that lend a magical feeling to the house?

9. What role does food play, both metaphorically and literally, in the sense of delight that deepens Mayes's relationship to Tuscany and the house itself?

10. Mayes often portrays life in Cortona as timeless. How does she also convey that the timelessness is in many ways just an illusion? How does the "sense of endless time" affect her household?

11. What is Mayes's philosophy about the friend who speaks disparagingly of contemporary Italy and says it's "getting to be just like everywhere else--homogenized and Americanized" (p. 110)? How does Mayes's response address globalization in general?

12. Mayes's loving descriptions of food, her recipes, and her gardening tips add sensuality to the book, but what are some of their other functions in Under the Tuscan Sun?

13. What is Mayes's advice to readers who have "the desire to surprise your own life" (p. 191)? How would you respond to this impulse? What are some of the benefits and drawbacks to the time of life Mayes chose for embarking on a major change? Discuss some of your own turning points and "forks in the road."

14. Although Under the Tuscan Sun isn't a novel, would you say that in many ways it reads like one? If so, what is the spring, the inner tension, that propels the book forward and shapes its form?

15. Besides presenting us with wonderful descriptions of food, scenery, and people, what is the other major impetus of Under the Tuscan Sun?

16. As the book draws to a close, Mayes asks rhetorically, "Doesn't everything reduce in the end to a poetic image--one that encapsulates an entire experience in one stroke?" (p. 256). In your opinion, which image or scene best "encapsulates the entire experience" of Mayes's time in Italy?

Editorial Reviews

A New York Times Notable Book

"This beautifully written memoir about taking chances, living in Italy. loving a house and, always, the pleasures of food, would make a perfect gift for a loved one.  But it's so delicious, read it first yourself."
—USA Today

"Irresistible...a sensous book for a sensous countryside."
—Minneapolis Star-Tribune

“An intense celebration of what [Mayes] calls ‘the voluptuousness of Italian life’ . . . appealing and very vivid . . . [The] book seems like the kind of thing you’d tuck into a picnic basket on an August day . . . or better yet, keep handy on the bedside table in the depths of January.”
—New York Times Book Review

"Armchair travel at its most enticing."
—Booklist

“Mayes [has] perfect vision. . . . I do not doubt that centuries form now, whoever lives in Bramasole will one day uncover bits of pottery used at Mayes’ table. She has, by the sweat of her brow and the strength of her vision, become a layer in the history of this place.”
—Los Angeles Times

"After buying a rundown villa in rural Tuscany, the American author Frances Mayes moves to Cortona to renovate the property and learn more about the Italian dolce vita. Her bestselling memoir on her time there paints a vivid description of the town, the people and the lush surrounding countryside of rolling hills and vineyards. A poet and a gourmet cook, Mayes includes a number of chapters on food, replete with classic Italian recipes to further whet the appetite."
—Irish Times

From the Publisher

In the spirit of Peter Mayle's bestselling memoir A Year in Provence, gourmet and poet Frances Mayes chronicles her experience of buying, restoring, and residing in an abandoned villa in the Tuscan countryside. In rich, golden prose, Mayes details the long summer days spent working in the garden, excursions to the nearby towns and markets, and joyful interactions with the local people. Mayes lets armchair travelers share the joy of living in Italy through her wonderful memoir.

bn.com

Frances Mayes made a name for herself writing about her love affair with Tuscany, where she bought and refurbished an abandoned villa. She tells the full story in Under the Tuscan Sun: At Home in Italy (Broadway. 1997. ISBN 0-7679-0038-3. pap. $15); Bella Tuscany: The Sweet Life in Italy (Broadway. 2000. ISBN 0-7679-0284-X. pap. $15); and In Tuscany (Broadway. 2000. ISBN 0-7679-0535-0. $35). Copyright 2004 Reed Business Information.

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