Gomorrah

by Roberto Saviano

  “What’s going on? Why’s he getting in the trunk?”

  “Don’t worry. Now we’ll go to Terzigno, to the factory.”

  A sort of Minotaur figure got in behind the wheel. He’d been in Pasquale’s car and seemed to know exactly what to do. He put the engine in reverse, backed out the gate, and, before pulling out into the street, produced a pistol. A semiautomatic. He racked a round and stuck it between his legs. I didn’t breathe, but the Minotaur, catching sight of me in the rearview mirror, realized I was staring at him anxiously.

  “They tried to do us in once.”

  “Who?”

  I tried to get him to explain it all from the beginning.

  “The ones who don’t want the Chinese learning to work in high fashion. The ones who just want fabric from China, nothing else.”

  I didn’t understand. I just didn’t understand. Xian intervened, in his usual soothing way.

  “Pasquale’s helping us learn how to make the quality garments they don’t trust us with yet. We’re learning how to make clothes from him.”

  After Xian’s explanation, the Minotaur attempted to justify the pistol:

  “So … one of them popped up there once, right there, see, in the middle of the piazza, and fired on our car. Hit the motor and windshield wipers. If they’d wanted to, they could’ve bumped us off. But it was just a warning. If they try it again though, this time I’m ready.”

  The Minotaur explained that the best technique when driving is to keep the pistol between your thighs. Putting it on the dashboard slows you down—you lose too much time grabbing it. The road to Terzigno is uphill, and I could smell the clutch burning. I was less afraid of a burst of submachine-gun fire than the recoil of the engine, which might make the pistol fire into the driver’s scrotum. We arrived without a hitch. As soon as the car came to a stop, Xian went and opened the trunk. Pasquale got out, looking like a balled-up Kleenex trying to flatten itself out. He came over to me and said:

  “It’s the same story every time. Not even a fugitive hides like this … But it’s better they don’t see me in the car, or else …”

  He sliced a finger across his neck. The factory was big, but not enormous. Xian had described it to me proudly. It belonged to him, but housed nine microfactories of nine Chinese entrepreneurs. It was like a chessboard inside: each factory had a square, with its own workers and benches. Xian had given each company the same amount of space as the factories in Las Vegas, and the contracts were auctioned off using the same method. He’d decided not to let children into the work zone and had organized the shifts as in Italian factories. What’s more, when they did work for other companies, they didn’t ask for cash up front. In short, Xian was becoming a serious player in the Italian fashion business.

  Chinese factories in China were competing with Chinese factories in Italy. As a result Prato, Rome, and the Chinatowns of half of Italy were suffering terribly; they’d experienced such a quick boom that the collapse felt even more sudden. There was only one way for the Chinese factories in Italy to save themselves: they had to become fashion experts, capable of doing top-quality work. They had to learn from the Italians, from the Las Vegas factory owners, to go from being junk manufacturers to the brands’ trusted suppliers in southern Italy. They had to take the place of the Italian underground factories, appropriate their logic, workspaces, and language. They had to do the same work, but for a little less money and in a little less time.

  Pasquale took some fabric out of a suitcase: a dress he was supposed to cut and sew in his factory. He did it here instead, on a table in front of a camera, his image projected onto a sheet hanging behind him. As he talked, a girl with a microphone translated into Chinese. This was his fifth lesson.

  “You must take great care with the seams. The seam has to be light but not nonexistent.”

  The Chinese triangle: San Giuseppe Vesuviano, Terzigno, Ottaviano. The hub of the Chinese clothing business. Everything that’s happening in the Chinese communities of Italy happened first in Terzigno. The first production cycles, the first quality manufacturing, as well as the first murders. This is where Wang Dingjm was killed. A forty-year-old immigrant who’d driven down from Rome for a party some other Chinese were throwing. They invited him, then shot him in the head. Wang was a snakehead—a scout—tied to the criminal cartels in Beijing that organize the clandestine entry of Chinese into Italy. Trafficking in humans, the snakeheads often clash with their clients. They promise a certain quantity and then they don’t deliver. Just as a drug dealer is killed when he keeps back a part of his earnings, a snakehead is killed when he cheats on his goods, on human beings. But it’s not just Mafiosi who die. On one of the factory doors was the photo of a young girl. Pretty face, pink cheeks, eyes so dark they seemed painted. It was hung exactly where one would traditionally expect the yellow face of Mao, but this was a picture of Zhang Xiangbi, a pregnant girl who had been killed a few years earlier. She used to work here. A mechanic from these parts had fancied her; she used to walk past his garage, and liking what he saw, he decided that was reason enough to have her. The Chinese work like dogs, they slither like snakes, they’re quieter than deaf-mutes, they’re not allowed any means of resistance or free will. Such is the axiom everyone—or almost everyone—bears in mind. But Zhang had resisted. She tried to escape when the mechanic came near her, but she couldn’t report him. She was Chinese, and every sign of visibility was denied her. The next time the man didn’t take no for an answer. He beat and kicked her until she fainted, then slit her throat and threw her body in a deep well, where it remained for days, bloated with water. Pasquale knew this story and was devastated by it. Every time he went to give a lesson, he made sure to go over to Zhang’s brother and ask how he was, see if he needed anything. But he always got the same response: “Nothing, thanks.”

  Pasquale and I became close. He was like a prophet when he spoke about fabric and was overly fastidious in clothing stores; it was impossible even to go for a stroll with him because he’d plant himself in front of every shop window and criticize the cut of a jacket or feel ashamed for the tailor who’d designed such a skirt. He could predict the longevity of a particular style of pants, jacket, or dress, and the exact number of washings before the fabric would start to sag. Pasquale initiated me into the complicated world of textiles. I even started going to his home. His family—his wife and three children—made me happy. They were always busy without ever being frenetic. That evening the smaller children were running around the house barefoot as usual, but without making a racket. Pasquale had turned on the television and was flipping channels, but all of a sudden he froze. He squinted at the screen, as if he were nearsighted, though he could see perfectly well. No one was talking, but the silence became more intense. His wife, Luisa, must have sensed something because she went over to the television and clasped her hand over her mouth, as if she’d just witnessed something terrible and were holding back a scream. On TV Angelina Jolie was treading the red carpet at the Oscars, dressed in a gorgeous garment. One of those custom-made outfits that Italian designers fall over each other to offer to the stars. An outfit that Pasquale had made in an underground factory in Arzano. All they’d said to him was “This one’s going to America.” Pasquale had worked on hundreds of outfits going to America, but that white suit was something else. He still remembered all the measurements. The cut of the neck, the circumference of the wrists. And the pants. He’d run his hands inside the legs and could still picture the naked body that every tailor forms in his mind—not an erotic figure but one defined by the curves of muscles, the ceramics of bones. A body to dress, a meditation of muscle, bone, and bearing. Pasquale still remembered the day he’d gone to the port to pick up the fabric. They’d commissioned three suits from him, without saying anything else. They knew whom they were for, but no one had told Pasquale.

  In Japan the tailor of the bride to the heir to the throne had had a state reception given in his honor. A Berlin newspaper had dedicated six pages t
o the tailor of Germany’s first woman chancellor, pages that spoke of craftsmanship, imagination, and elegance. Pasquale was filled with rage, a rage that it’s impossible to express. And yet satisfaction is a right, and merit deserves recognition. Deep in his gut he knew he’d done a superb job and he wanted to be able to say so. He knew he deserved something more. But no one had said a word to him. He’d discovered it by accident, by mistake. His rage was an end in itself, justified but pointless. He couldn’t tell anyone, couldn’t even whisper as he sat looking at the newspaper the next morning. He couldn’t say, “I made that suit.” No one would have believed that Angelina Jolie would go to the Academy Awards wearing an outfit made in Arzano, by Pasquale. The best and the worst. Millions of dollars and 600 euros a month. Neither Angelina Jolie nor the designer could have known. When everything possible has been done, when talent, skill, ability, and commitment are fused in a single act, when all this isn’t enough to change anything, then you just want to lie down, stretch out on nothing, in nothing. To vanish slowly, let the minutes wash over you, sink into them as if they were quicksand. To do nothing but breathe. Besides, nothing will change things, not even an outfit for Angelina Jolie at the Oscars.

  Pasquale left the house without even bothering to shut the door. Luisa knew where he was going; she knew he was headed to Secondigliano and whom he was going to see. She threw herself on the couch and buried her face in a pillow like a child. I don’t know why, but when Luisa started to cry, it made me think of a poem by Vittorio Bodini. Lines that tell of the strategies southern Italian peasants used to keep from becoming soldiers, to avoid going off to fill the trenches of World War I in defense of borders they knew nothing of.

  At the time of the other war peasants and smugglers

  put tobacco leaves under their arms

  to make themselves ill.

  The artificial fevers, the supposed malaria

  that made their bodies tremble and their teeth rattle

  were their verdict

  on governments and history.

  That’s how Luisa’s weeping seemed to me—a verdict on government and history. Not a lament for a satisfaction that went uncelebrated. It seemed to me an amended chapter of Marx’s Capital, a paragraph added to Adam Smith’s The Wealth of Nations, a new sentence in John Maynard Keynes’s General Theory of Employment, Interest and Money, a note in Max Weber’s The Protestant Ethic and the Spirit of Capitalism. A page added or removed, a forgotten page that never got written or that perhaps was written many times over but never recorded on paper. Not a desperate act but an analysis. Severe, detailed, precise, reasoned. I imagined Pasquale in the street, stomping his feet as if knocking snow from his boots. Like a child who is surprised to discover that life has to be so painful. He’d managed up till then. Managed to hold himself back, to do his job, to want to do it. And do it better than anyone else. But the minute he saw that outfit, saw that body moving inside the very fabric he’d caressed, he felt alone, all alone. Because when you know something only within the confines of your own flesh and blood, it’s as if you don’t really know it. And when work is only about staying afloat, surviving, when it’s merely an end in itself, it becomes the worst kind of loneliness.

  I saw Pasquale two months later. They’d put him on truck detail. He hauled all sorts of stuff—legal and illegal—for the Licciardi family businesses. Or at least that’s what they said. The best tailor in the world was driving trucks for the Camorra, back and forth between Secondigliano and Lago di Garda. He asked me to lunch and gave me a ride in his enormous vehicle. His hands were red, his knuckles split. As with every truck driver who grips a steering wheel for hours, his hands freeze up and his circulation is bad. His expression was troubled; he’d chosen the job out of spite, out of spite for his destiny, a kick in the ass of his life. But you can’t tolerate things indefinitely, even if walking away means you’re worse off. During lunch he got up to go say hello to some of his accomplices, leaving his wallet on the table. A folded-up page from a newspaper fell out. I opened it. It was a photograph, a cover shot of Angelina Jolie dressed in white. She was wearing the suit Pasquale had made, the jacket caressing her bare skin. You need talent to dress skin without hiding it; the fabric has to follow the body, has to be designed to trace its movements.

  I’m sure that every once in a while, when he’s alone, maybe when he’s finished eating, when the children have fallen asleep on the couch, worn-out from playing, while his wife is talking on the phone with her mother before starting on the dishes, right at that moment Pasquale opens his wallet and stares at that newspaper photo. And I’m sure that he’s happy as he looks at the masterpiece he created with his own hands. A rabid happiness. But no one will ever know.

  *Post-Fordism is a mode of production that favors more flexible manufacturing practices and less hierarchical social dynamics than those developed in the assembly-line methods of Henry Ford’s factories.—Trans.

  THE SYSTEM

  The huge international clothing market, the vast archipelago of Italian elegance, is fed by the System. With its companies, men, and products, the System has reached every corner of the globe. System—a term everyone here understands, but that still needs decoding elsewhere, an obscure reference for anyone unfamiliar with the power dynamics of the criminal economy. Camorra is a nonexistent word, a term of contempt used by narcs and judges, journalists and scriptwriters; it’s a generic indication, a scholarly term, relegated to history—a name that makes Camorristi smile. The word clan members use is System—”I belong to the Secondigliano System”—an eloquent term, a mechanism rather than a structure. The criminal organization coincides directly with the economy, and the dialectic of commerce is the framework of the clans.

  The Secondigliano System has gained control of the entire clothing manufacturing chain, and the real production zone and business center is the outskirts of Naples. Everything that is impossible to do elsewhere because of the inflexibility of contracts, laws, and copyrights is feasible here, just north of the city. Structured around the entrepreneurial power of the clans, the area produces astronomical capital, amounts unimaginable for any legal industrial conglomeration. The interrelated textile, leatherworking, and shoe manufacturing activities set up by the clans produce garments and accessories identical to those of the principal Italian fashion houses.

  The workforce in clan operations is highly skilled, with decades of experience under Italy’s and Europe’s most important designers. The same hands that once worked under the table for the big labels now work for the clans. Not only is the workmanship perfect, but the materials are exactly the same, either bought directly on the Chinese market or sent by the designer labels to the underground factories participating in the auctions. Which means that the clothes made by the clans aren’t the typical counterfeit goods, cheap imitations, or copies passed off as the real thing, but rather a sort of true fake. All that’s missing is the final step: the brand name, the official authorization of the motherhouse. But the clans usurp that authorization without bothering to ask anybody’s permission. Besides, what clients anywhere in the world are really interested in is quality and design. And the clans provide just that—brand as well as quality—so there really is no difference. The Secondigliano clans have acquired entire retail chains, thus spreading their commercial network across the globe and dominating the international clothing market. They also provide distribution to outlet stores. Products of slightly inferior quality have yet another venue: African street vendors and market stalls. Nothing goes unused. From factory to store, from retailer to distributor, hundreds of companies and thousands of employees are elbowing each other to get in on the garment business run by the Secondigliano clans.

  Everything is coordinated and managed by the Directory. I hear the term constantly—every time bar talk turns to business, or in the usual complaints about not having work: “It’s the Directory that wanted it that way.” “The Directory better get busy and start doing things on a bigger scale.” They so
und like snippets of conversation in postrevolutionary France, when the collective governing body was Napoléon’s Directoire. “Directory” is the name the magistrates at the Naples DDA—the District Anti-Mafia Directorate—gave to the economic, financial, and operative structure of a group of businessmen and Camorra family bosses in north Naples. A structure with a purely economic role. The Directory, and not the hit men or firing squads, represents the organization’s real power.

  The clans affiliated with the Secondigliano Alliance—the Licciardi, Contini, Mallardo, Lo Russo, Bocchetti, Stabile, Prestieri, and Bosti families, as well as the more autonomous Sarno and Di Lauro families—make up the Directory, whose territory includes Secondigliano, Scampia, Piscinola, Chiaiano, Miano, San Pietro a Patierno, as well as Giugliano and Ponticelli. As the Directory’s federal structure offered greater autonomy to the clans, the more organic structure of the Alliance ultimately crumbled. The Directory’s production board included businessmen from Casoria, Arzano, and Melito, who ran companies such as Valent, Vip Moda, Vocos, and Vitec, makers of imitation Valentino, Ferré, Versace, and Armani sold all over the world. A 2004 inquiry, coordinated by Naples DDA prosecutor Filippo Beatrice, uncovered the Camorra’s vast economic empire. It all started with a small detail, one of those little things that could have passed unnoticed: a clothing store in Chemnitz, Germany, hired a Secondigliano boss. A rather unusual choice. It turned out he actually owned the store, which was registered under a false name. From this lead, followed by wiretaps and state witnesses, the Naples DDA reconstructed each link in the Secondigliano clans’ production and commercial chain.

  They set up shop everywhere. In Germany they had stores and warehouses in Hamburg, Dortmund, and Frankfurt, and in Berlin there were two Laudano shops. In Spain they were in Barcelona and Madrid; in Brussels; in Vienna; and in Portugal in Oporto and Boavista. They had a jacket shop in London and stores in Dublin, Amsterdam, Finland, Denmark, Sarajevo, and Belgrade. The Secondigliano clans also crossed the Atlantic, investing in Canada, the United States, even in South America. The American network was immense; millions of jeans were sold in shops in New York, Miami Beach, New Jersey, and Chicago, and they virtually monopolized the market in Florida. American retailers and shopping-center owners wanted to deal exclusively with Secondigliano brokers; haute couture garments from big-name designers at reasonable prices meant that crowds of customers would flock to their shopping centers and malls. The names on the labels were perfect.