I stopped abruptly where the stocking ended. With a surgeon’s precision, I took the garter band between the thumb and index finger of each hand and, without touching the skin, peeled the stocking slowly from her increasingly bared leg. I denuded her copper thigh, her round, funny knee, her mirror-smooth shin and her cheekily rounded calf, her chiseled ankle, where I faltered for a moment to change direction and finish my work with an elegant maneuver by which I freed her heel, her curved instep, and her giggling toes. I laid the stocking next to her on the table. She shivered but not from the cold. The minuscule, scarcely visible blonde hairs were now standing on end. She sighed deeply and moved her leg to the side to allow me access. “Please,” she whispered. I kissed her mouth and came.
7.
And that was how I ruined everything. Fuck, what a moron I was. A big blob of my sperm on an amputated woman’s leg. That was exactly the kind of DNA the CIA folks liked best. With the certainty that a man was involved in the unsavory affair, and the bonus of quite a big hint as to the motive. And then to try coming up with the excuse, in the face of such persuasive evidence, that you’d just happened upon the leg in the street during a storm-induced power outage, and that that blob was only there thanks or no thanks to the fact that she had moved her leg aside with a sigh, after I’d carefully taken off her stocking, and had whispered that it was alright. “But you must believe me, your honor, I swear to you, that’s what happened.”
I live in my imagination too much. And look what comes of it. Problems come of it. Sperm on a ripped-off, rotting limb comes of it. What a fine mess I’d gotten myself into. How humiliating. How could I have let myself get carried away like that? Of course it’s also part of my job to represent the thoughts and motivations of others as vividly as possible and if necessary, to create characters from nothing, characters onto whom I can project myself so vividly that they become flesh and blood, allowing me to set down a convincing portrait of them on paper. But that doesn’t mean that when I’m not holding a pen, I should start believing in my own delusions and consider one leg sufficient to project the rest spread-eagled onto it, breathe life into a whole new willing mistress and throw myself, panting, upon her. That would get me into another fine mess. Worse, it already had.
I decided I had to get rid of the leg as quickly as possible. But first, of course, I had to give it a thorough cleaning. Naked skin is easy to wash, easier than skin clothed in nylon. That was what I told myself as I tried to apply some kind of logic to my actions and retrospectively give the stocking striptease a rational justification. I put the leg in the shower. It was a strange kind of automatism, if I can use that word for something I’d never done before and, with a probability bordering on certainty, would never do again. All things considered, it was an object and you washed objects in the sink, but clearly I thought legs belonged under the shower, as though there were still a woman attached to it.
And then I realized that I’d miss her. I undressed and got into the shower with her. But that was only intended as a sweet gesture, like having a shower together after sex. I washed her gently, carefully and attentively. It was our farewell. After that I got a garbage bag and pulled it over the leg without touching the freshly-washed skin or leaving any evidence. I tied the bag tightly shut, got dressed, went outside and threw the bag into the builders’ dumpster. Sure enough, I felt a little sad.
8.
Come si deve. If there’s a concept that characterizes and unifies Italy (in so much as that exists), it is this life philosophy that everything has to be the way it should be, come si deve. Of course everyone has different ideas about that—how things should be—but everyone does agree that it must be as it should be, not necessarily because that’s good, but because it has always been that way. The most obvious example is food. Each region, each province, each city, each quarter has different ideas about how spaghetti al ragù should taste. They even call it different things. But everyone agrees that it should taste like it has always tasted. A chef ’s creativity is not appreciated. The chef should be a craftsman like a cobbler, not an artist. The chef, like the best cobbler, doesn’t spring any surprises on you. That’s why you always eat so well in Italy. And that’s why they have such nice shoes.
But that’s what all of life is like in Italy, from the cradle to the grave. You’re born, grow up, get married and leave home, have children who leave home when they get married, and you die. You celebrate Christmas at Christmastime and eat roast lamb at Easter. You go to the seaside in August. All the shops will be closed. In Genoa, it’s an entire month of scarcely being able to buy the bare necessities. There are only two tobacconists open in the whole city center, one newspaper kiosk, and one liquor store. If you’re lucky. And just try to find them. Bewildered tourists wander around among the closed shutters. The mayor calls for legislative measures, and rightly so, but just try to do anything about it, because everyone goes to the seaside in August and not in June or July, which would be much more sensible since at least there’d be a place on the beach and everything would cost half what it costs in August. But that’s not come si deve.
It is life according to a liturgical calendar of recurrent, annual family parties, family outings, birthdays, name days, home and away matches, qualifying rounds and finals. It’s a spiral that ends after seventy or eighty rotations with a memorial plaque on the gray walls of a church, formulated and designed like all the other memorial plaques. We look back with pride and gratefulness at a rich and full life that progressed just like other lives, in the same streets, on the same squares, in the same houses, and on the same beaches, with breakfast at half past seven, pranzo at half past twelve, cena at nine o’clock, blessed with children and grandchildren who will do everything exactly the same. Stanno tutti bene. Tutto a posto. Come si deve.
I’ve seen a woman who was exactly like that. I see her all over the place because she’s always at the right place at the right time. She has breakfast at Caffè del Duomo on San Lorenzo. She lunches at Capitan Baliano on Matteotti. At six on the dot she comes into the Bar of Mirrors for an aperitif. She has a glass of Prosecco and then, why not, another glass of Prosecco. She always says that as she orders it: “Oh, why not, another glass of Prosecco.” As though it were an exception. And she’ll never order a third glass of Prosecco. She always says that, too: “I never have three glasses of Prosecco as an aperitif. Two is enough for me.” She’s an exemplary Italian in every way. I couldn’t imagine her in any country but Italy. She’s so come si deve that outside of Italy she’d wither and die like a tree that had been transplanted out of the specific, precious microclimate of its natural habitat. On Saturdays she meets her friend on the square at exactly the right time on exactly the right day at exactly the right place to eat pizza. She is exactly fifteen minutes late for the meeting and her friend is exactly fifteen minutes later than she. They then have a fixed ritual of apologies from the lady who’s too late, resolutely waved off by the lady who was less late. It’s a stainless steel routine that’s repeated to the second, time after time, week after week, year in year out, generation after generation.
Two days a week, she has her granddaughter, a notorious redheaded diva of about three years old. She’s called Viola. I know this because that’s what everyone keeps calling her. Her, too. Each time the little girl does something, it doesn’t matter what—climb up onto her lap, climb down off her lap, walk in circles around the parasol stand, stir the Prosecco with her finger—she says, “Viola, don’t do that!” As an aperitif she gets an acqua frizzante with a straw and a bowl of patattine—what do you call those again? Fries? Then she says, “Look, Viola! Here’s Viola’s aperitif!”
The most beautiful girl in Genoa, who works at the Bar of Mirrors, is besotted by Viola. She kisses her, strokes her red curls, cuddles her, and babbles away endlessly to her about the fries, about her new shoes, about the color of the straw, pigeons, parasols, freckles, dancing, and the bandages on her cuts and scrapes that haven’t healed yet. It’s astonishing. I
t’s a holy miracle to witness. The magic of the fairy-tale harmony between a little tyke and a good fairy. The most beautiful girl in Genoa should be as unapproachable as a glimpse of an image you catch in a mirror, but before my very eyes she turns into the most endearing essence of approachability. The old lady watched with the smile of an Italian grandmother who found it only natural that her granddaughter should be adored by waitresses. I decided to speak to her.
I loved speaking Italian. I wasn’t very good at it, but I liked to, which seems to me to perfectly fit the definition of an amateur. Whenever I was on a roll, or at least thought I was, it felt like swimming in the waves of a warm sea. I could bob on the rhythm of the long and short syllables. I would stretch myself out on long, clear vowels and then make a playful, thrashing sprint across the staccato of consonants. I’d dive down into a daring construction, knowing I’d need a subjunctive sooner or later, but would come up spluttering. It didn’t matter what it was about or whether it was about anything. It was a game. I didn’t need to swim anywhere; it was enjoyable enough just to be in the water.
Although I loved Italian and tried my best to learn it, I didn’t really take it seriously as a language. It’s a language for children, a language that tastes of rice with butter and sugar. The language is perfectly suited to a month at the seaside in August with the whole family, when the world can be easily organized and divided into clear categories like bello and brutto, buono and schifoso, libero and occupato, pranzo and cena. The language is also exceptionally suited to shouting at children the whole damn day that they shouldn’t do that, whatever it is they’re doing, and to say that’s enough. You can also say goodbye to each other the whole day in it. It’s a language that makes a racket and that’s the only thing that counts, like when children are happy, weeks-on-end happy, drive-you-crazy happy with a rattle.
But I was, too. I was happy. I wanted to make a racket. And the fact, the more than obvious fact, that I had to practice and improve my Italian gave me a wonderful excuse to address complete strangers on any random subject. I would never do that in my own language because those people don’t interest me, let alone what they have to say, and because my own language isn’t a toy. And if I accidentally say something insulting in Italian, I can always add a few grammatical blunders and then sit there smiling naively like a screwball foreigner. I could get away with anything—that was what was so fun about it.
So that was how I spoke to Viola’s grandmother. She was so Italian and so come si deve I thought she’d prove entertaining training material.
9.
“My name is Franca. But it’s better that you call me Signora Mancinelli and use the formal mode of address because you have to practice your Italian and the formal modes are more difficult. And you? What? Giulia? Giulian? Gigia? Leonardo. That is a bit easier, indeed. Like Leonardo da Vinci. I can remember that. Or, if you asked today’s youth, Leonardo DiCaprio. I’m an elderly lady of the upper class. They still had education in my days. I know who Leonardo da Vinci was. See that man over there? Look hard.”
He sits on the terrace at the Bar of Mirrors almost every day, a bon vivant, suffering from some subsidence, who acts too young for his age. He has white hair and wears brightly colored Hawaiian shirts from the plastic boxes of remainders at the market. When he comes shuffling along with his plastic bags from the Di per Di, he looks like a tramp. But once he’s sitting down he orders a mojito. Tramps don’t drink cocktails. And he has plenty of chitchat. Everyone who says hello to him is treated to an undoubtedly priceless anecdote, freshly plucked from the riches of his daily life. He bares his teeth as he smiles and draws passersby and waitresses into his monologue. He wears glasses on his forehead, which are supposed to give him the air of an elderly intellectual. But I don’t fall for that. He has holes in his shoes. His eyes are deep-set, his cheeks have caved in, and his stubble sticks to his chin like the frayed edges of an unwashed bathmat. He nods briefly at fellow tramps passing by over the gray paving stones.
“Watch out,” the signora says. “He’s a very important man. Bernardo is his name, Bernardo Massi. He’s rich.” She leaves a meaningful silence. “Very rich. Although they say his wife left him. But I know he still has a palazzo on the Piazza Corvetto.” I nodded to show I’d understood how significant that was. I tried to get a better look at him but some tourists had sat down at the table between him and me. They were seriously blocking the view with an excess of cameras and sticky body parts, peering at a map. The waitress came and they ordered a beer and an iced tea. The waitress asked whether they wanted anything to eat. They have the charming habit here of serving a range of snacks with the aperitif, with the compliments of the establishment. But the tourists became acutely suspicious, suspecting it was a dirty trick to make them pay for more than the two drinks they’d ordered and which would certainly be too expensive, here right in the center, and you know, you have to be very careful in these southern countries because they’ll rip you off right in front of your nose, and in any case we’re never coming back here, it’s much too expensive, but why am I fussing about it, are you fussing about it, we’re on holiday, so we’d better enjoy it, otherwise you don’t really have a life do you, that’s what I always say, it’s pretty important to enjoy yourself in life, even on holiday, so let’s just drink our drinks.
I don’t know whether it’s shamelessness, indifference, or a cultural code. But why in God’s name do tourists have to wear their dirty underwear as soon they sit down in a southern country and block my view? He was wearing a stained t-shirt from a German football club and shorts that had been washed to shreds; she was wearing comfy, baggy holiday shorts. They looked like intelligent, wealthy people to me. No doubt they had a house in Dortmund and a delectable DVD collection in their designer shelving unit, a car with fancy wheel trims in the garage, and evening wear for their work’s New Year’s reception in their recessed wardrobe.
In the Pré quarter, where Rashid lives along with the rest of Africa, every underprivileged illegal immigrant spends the first sixty euros he earns on a fake Rolex with imitation diamonds so that he can begin to fit in a little bit with the respectable Europeans, and those heirs of the wirtschaftswunder were just sitting there in their underwear. What kind of an impression do you think that made? And what do you think it means? What did they mean to say by this? If you’re on the beach by the Deiva Marina or at a campsite in Pieve Ligure I can understand it. But this was right in front of my view, on the most precious terrace in the city, in the shadow of centuries, in the historical center of Genoa, La Superba, the heart of the heartless one that had allowed them to penetrate to the roots of her pride. Does it mean they don’t understand or they don’t want to understand? Or are they sending out a special message? Like: We just happen to be on holiday here, nice to get away from all the stress, and that’s why we’re doing what we want, just having a lovely nice time being ourselves for those three weeks a year, you know. Or: Those Italians don’t know a thing, it’s just one big hip-hip-hooray beach from the Costa Brava to Alanya. Or is it actually intended as a status symbol dressing like that, does it mean you can permit yourselves to go on holiday without caring about anything whatsoever?
“Don’t be fooled by appearances,” the signora said.
“My apologies, signora, I was distracted for a moment.”
“He looks like an unmade bed. He dresses as though he has shares in the illegal sewing shops in the Pré. It wouldn’t surprise me if he did. I must ask Ursula some time.”
“Who are you talking about?”
“Ursula Smeraldo. She has a countess in her family. By marriage, though. And just between you and me, she’s rather down on her luck, if you get my meaning. But we’re practically neighbors on the Via Giustiniani, and it would be strange if I didn’t greet her. What’s more, she knows what’s going on.”
The tourists’ shamelessness reached a new low. They’d unfolded their map and asked the waitress where something was. They had the goddamn guts to speak
to her! Probably about something ridiculous like the aquarium. She stood bent over their table for minutes on end, giving them all kinds of explanations. My waitress. She was sacred. No one can ask her the way to the aquarium in their underpants. She’s not allowed to reply, and certainly not so extensively and sweetly and prettily. Not so sweetly and prettily. Not so extensively. Not so bent over and so much in my line of vision it hurt.
“I know about her, too.”
I gave the signora an irritated look.
“Ursula told me that Bernardo Massi broke up with his wife. But everyone knows that he’s powerful and important, that he’s rich, I mean, even though he dresses like a tramp. Don’t be fooled by the exterior. Everything is hidden in Genoa. We don’t have any squares with fountains, no palazzi with fancy façades. All the gold and art treasures are hidden away behind incredibly thick walls of common gray limestone. A true businessman stashes away his fortune in an old sock and goes out onto the street wearing tatters in the hope of receiving alms. In Milan and Rome, everyone wants to show off everything, fare bella figura, with a flamboyant display of good taste and excess. In Genoa everyone understands that it doesn’t give you an advantage. To the contrary. The man who splashes his wealth about ostentatiously has far too many friends, as the saying goes. The saying is a bit different from that, but you understand what I’m saying. Do you understand what I’m saying? You have to learn how to behave in this city. It’s a porcelain grotto.”
La Superba Page 3