“You shou’ be ’n school, young lady.”
Duno snickers. “He sounds like he’s drunk!”
“È ammalato?” Santino asks.
Albert focuses for a moment, bends at the waist, pukes in two thin gouts. It happens so quickly, nobody reacts. “I think I’ll just sit here and wait,” he announces in a reasonable tone of voice.
“Frau Brössler! Papa’s sick!” Claudette calls. “What should we do?”
“What does she want from you?” Herrmann asks. “You’re a doctor now?” Frieda starts toward the Blums, but Herrmann grabs her sleeve. “We’ve got to keep moving!” he says. “We’ll all catch our deaths out here.”
“Papa’s right,” Duno says, agreeing with his father for once. “We have to leave them behind.”
“I won’t hear of it,” his mother snaps.
“Mutti, we can’t carry him! We left Oma—”
“Yes! Yes, we did! We left my parents in Vienna. We left Oma Brössler in Sainte-Gisèle. Now you two want to leave Herr Blum. Who’s next? Liesl? Steffi? Only the strong survive— that’s what the Nazis say!”
“Frieda!” her husband gasps, but she pulls her sopping blanket tighter and approaches Herr Blum gingerly. She’s never been much good around sick people, but she’s seen what nurses do, so she places a palm on his forehead. Her own hands are freezing, but Herr Blum’s skin is weirdly clammy and her fingers on his face seem warm by contrast. No fever, so what’s wrong? A chill? A bad heart? Too great a strain for too long a time? Duno and Herrmann are probably right, but she can hardly say so now. “Herr Blum needs to get warm. He needs shelter!” she tells the soldier, sketching a roof over her head with her hands.
The lady’s gesture is plain, but Santino can only shrug. Of course, we need a house! he thinks. We’ve been looking for one all day!
The Brösslers start to argue again. Signor Blum is mumbling German, and no one else speaks Italian. Claudia’s eyes plead with Santino to do something. He looks up at the ridge that snakes along the track. “Maybe I’ll see something from up there,” he says, trying not to sound doubtful. Or weary. Or hungry. Or scared. “I’ll find something, I promise.”
He starts to climb, hands to the ground. The rain is slowing, but midway to the top, he slips on slimy half-rotted leaves and mashes his nose against a rock. “Gesù!” he cries, spitting mud. “Santa Madonna, it’s probably broke!” Pain, hunger, and helplessness compete to overwhelm him. He slumps onto his knees, letting his bloodied nose drip into the mud. “Madonna,” he weeps, over and over, hopeless and alone. “Madonna!”
Without warning, the epithet becomes a prayer. “Santa Madonna! Let there be something on the other side of this hill! Prego, Holy Mother! I know I don’t go to church much, but I don’t ask this for myself. Just help me to help them, Signora. Prego, prego…”
The bleeding stops. He wipes his eyes, fingers his nose gingerly, looks up. The clouds have begun to part, and a milky moon is reclaiming the sky. Climbing again, and cresting, he stands, eyes straining for the slightest indication of humanity’s mark on this dark, soggy landscape: a village, a house, a barn. Anything! he implores. A bridge the Hebrews can sleep under. Haystacks they can burrow into…
He sees only more ravines, and more trees. His face twists, but he holds back the tears, determined not to commit the sin of despair. Holy Mother, he prays with an inspired desperation, you ran from Herod. You hid in Egypt. Prego, help me find a cave, maybe, or— or—
A charcoal maker’s shack.
He stares, open-mouthed. A miracle, he thinks. How else could you explain it? The tiny stone hut slumps behind axed stumps and old hearths, barely visible amid a tangle of weeds taking over an abandoned field. The Madonna must have guided his eyes!
Fatigue vanishing, Santino scrambles down and looks inside. The carbonaro is long gone. Drafted, maybe. Dead, or a prisoner now in Russia, God help him. But he left a supply of charcoal on the stone hearth, and there’s a stream nearby. Bene! Benissimo, Blessed Mother! Santino prays, dropping to his knees, sweeping windblown debris out the door with his hands. I’ll leave Claudia and her father here, but the Brösslers will need a bigger place, he warns the Virgin. It’s a family with three children, so a barn would be good, if it’s not too much trouble.
He clambers back to the Hebrews. The two little girls are asleep in the mud near Albert Blum, who shakes and mumbles. Duno and his parents stand, bodies rigid with the effort of holding back hope. Claudia sits wordlessly, and bursts into tears when Santino nods: Yes, I found something!
“I’m sorry,” he says, coming to her side. “I should have prayed sooner.” Looking past her, he tells the Brösslers, “I don’t know how much farther we have to go, but the Madonna will find you a barn, I promise.”
Without Albert Blum to translate, they don’t really understand, but Santino’s happiness is unmistakable and infectious. Within the hour, he and Duno have moved the Blums and a supply of tinned rations inside the shack. Duno leaves to rejoin his family, but Santino lingers, making sure the little fire he built is going well.
“It’s not much, signorina, but it’s better than a haystack,” he tells Claudia. “The house is used by charcoal makers. Nobody will come up here now that the rains have started.”
“Santino, prego! My father— il mio papa? — he said there are people who help Jews. Delegazione Assistenza Emigrati Ebrei. Capisce?”
“Sì. Capisco,” he says, not wanting to leave. “I have to take the Brösslers to their barn, but I won’t forget you. Capisce, signorina? I’ll come back!”
“Capisco,” she says. Not what he’s said, but what he means.
She pulls her sleeve down over her palm and uses it to wipe at the forgotten blood crusted under his nose. Embarrassed, he tries to look away, but her cold hands rise to the sides of his face. For a long moment, her serious green eyes study him, as though learning him by heart, and for the first time in his life, Santino Cicala does not feel ugly. Emboldened, he takes her head in both his hands, gently, and kisses her, hard. She does not pull away. “I have to go now,” he says, eyes on hers. He trips over a root but catches his balance. “I’ll come back,” he says again.
Watching until he disappears into the gloom, Claudette ducks inside the tiny hut and adjusts the army blanket Santino made into a door, to keep the light and heat inside. Rosy in the fire’s embers, her father lies curled, inert beneath another blanket, which steams in the warmth. She sits on the packed-dirt floor and listens to the hiss of the fire, watching the rise and fall of her father’s chest. His convulsive shivering has stopped, and he snores with comforting familiarity, relaxing into ordinary sleep.
Against her will, her own chest falls into the slow rhythm his provides. Noiselessly, almost calmly, the measured movement deepens. She looks up, to keep the tears from falling. “I miss you, Mama,” she whispers in the tiny voice that escapes her thickening throat. “Papa was sick. I was so scared.”
Don’t be silly, her mother would say. He was very tired and cold. He’ll be fine in the morning. Wipe your nose.
Was Papa handsome when you fell in love, Mama?
He was no Maurice Chevalier, I can tell you. But who is?
Santino’s short, Mama. He’s shorter than I am, I think.
Everyone’s tall on my side of the family. Height’s not important. Is he of good character? That’s important.
He’s Catholic, Mama.
Well, Moses married a shiksa. If it’s good enough for him…
Smiling damply, Claudette cleans her nose on the back of her bloodied sleeve and pulls in a shuddery breath. She adds another chunk of charcoal to the fire, lifts the damp and smoky blanket that covers her father, and crawls in beside him to share her warmth. “We’ll be all right, Papa,” she whispers. “Santino will come back, and everything will be fine.”
11–13 September 1943
BASILICA SAN GIOVANNI BATTISTA
PORTO SANT’ANDREA
Boxed inside the confessional, Osvaldo Tomi
tz slides open the grille to his right, and yearns to hear San Giobatta’s bells toll five. Instead he hears a well-known voice whisper, “Bless me, Padre, for I have sinned. My last confession was a week ago, and I missed Mass last Sunday.”
In Osvaldo’s opinion, Catarina Dolcino has not confessed a single genuine sin since he arrived in Sant’Andrea, but every Saturday old Rina proudly presents a minor misdeed for absolution. “Why did you miss Mass, figlia mia?”
“Padre, I was aching so much Saturday evening, I thought it might be typhus!” she whispers. “I decided not to go to Mass and maybe spread the sickness.”
“God does not expect you to come to Mass if you’re sick. You missed Mass for the good of others—”
“But I felt fine on Sunday morning. So it was a sin.”
“No, figlia mia, it wasn’t.”
“Yes, Padre, it was!”
“Look, this is not a debate. I am the priest, and I say you didn’t commit a sin when you missed Mass last Sunday.”
“Padre, I know it’s a sin!” Rina insists more loudly.
“And what seminary did you attend?” Osvaldo demands.
A patrician chuckle issues from another confessional a few meters away. “Surrender, Tomitz,” an authoritative male voice advises.
“That was the archbishop, you know,” the old lady informs Osvaldo unnecessarily. “You should do as you’re told.”
“Oh, all right. An Ave Maria,” Osvaldo mutters. “And a Pater Noster—for arguing!”
Rina recites a victorious Act of Contrition, and Osvaldo surrenders to a headache. He expected lay confessions to differ from those of seminarians, but old women never cease to astonish him. They are fawningly deferential to priests everywhere but in the confessional.
Before she rises to leave, Rina drops her voice to ask, “Did you think about what my neighbor asked you, Padre? You wouldn’t have to do anything. Suora Marta and Signora Leoni and I will take care of everything.”
“Signora,” Osvaldo says softly, “your friend’s son is a criminal—”
“But— no! I mean, yes, he was in prison, but he went for someone else. Remember in ’38, when every city had to send ten anti-Fascist Jews to jail? All we had in Sant’Andrea was one Communist and a lunatic, but what does Rome care? Ten is ten! Serafino Brizzolari picked men at random— how else could you do such a thing to your own neighbors? One of them was Tranquillo Loeb, Padre. A war hero! An attorney with a family, with responsibilities! Renzo wasn’t married, so he went to the Palazzo Municipale and—”
“Volunteered to go in his brother-in-law’s place?”
“He thinks nobody knows, but I hear things,” she says smugly. “The Leonis are good people, Padre. Lidia’s husband gave money to anyone who needed help. Catholic, Jew. And Emanuele never took the money back. He’d tell them to give it to someone else who needed help.” The old lady pauses cagily. “A lot of people put those coins in the poor box, Padre.”
“Go in peace, figlia mia,” Osvaldo commands firmly, but he adds, “I’ll do what I can in conscience.”
Sliding open the opposite grille, Osvaldo uses the movement to read his watch in a ray of light coming through a gap in the curtain. It’s nearly five, but the ones who wait until the last moment often have the longest list of the most repetitive sins and the most self-serving excuses. It’s the war, Padre. Always the war. Death is everywhere. Sordid solace beckons. The mind should focus on the soul’s nearness to eternity, but bodies yearn to experience each pleasure life offers— now, before it is too late. Babies are conceived while husbands are at the front; wives do desperate things. Lying and theft become a way of life. Rationing, the draft, a thousand deprivations… Osvaldo tries to be compassionate, but he can feel himself slipping into priestly middle age, becoming snappish and judgmental as his capacity for caritas erodes. A child next, he prays. Suffer the little children to come unto Thee, Lord. Grant me the blessing of hearing their earnest if unreliable promises to be better next week.
Instead he hears the impact of a heavy man’s knees, followed by the stifled groan when a bad leg takes up its half of this body’s burden. Serafino Brizzolari. A middle-level bureaucrat at the Palazzo Municipale. The man who sent Renzo Leoni to jail.
“Bless me, Father, for I have sinned. I missed Mass because the air raids kept me awake all night. It’s been a savage week, and I was too tired to go to church on Sunday.” (Poor thing! Osvaldo thinks, then berates himself for sarcasm.) “I skipped grace before meals ten times, and missed grace after meals about thirty times. I’m a busy man, Padre. I am often called away from my table by matters of state.” (Yes, yes! Osvaldo moans mentally. Come to the point.) “— impatient with my grandchildren about twenty times, and with my wife about ten times.”
Why, Osvaldo wonders testily, are sins always divisible by five?
“I was short a couple of times with my assistant, but he really is an ass! I had impure thoughts, and I enjoyed them.” (Finally! We’re getting somewhere…) “I forgot my morning prayers about twenty times and my night prayers about thirty times. I touched myself impurely, but didn’t enjoy it.” (There’s a lie, Osvaldo thinks, but he lets it pass.) “I used God’s name in vain about fifty times and slept with someone other than my wife three times, and I cheated a man on some black-market meat, but his flour turned out to be wormy anyway, so he was cheating me, too. What can I tell you? There’s a war on. For these and all my sins of my past life, I am heartily sorry, especially for being bad-tempered around my grandchildren.”
Osvaldo takes a deep breath. “Let’s go back to that one about sleeping with someone other than your wife, shall we?”
“Padre, my marriage is empty! My wife is—”
“This is your confession, not your wife’s. And in any case, a man who tends someone else’s garden can hardly complain when his own has weeds. How long has this been going on? A year? A year and a half?”
“Really, Padre, it’s not your place—”
“Don’t tell me my place, figlio mio. I am your confessor!”
“I shall speak to the archbishop about this, Tomitz!”
“Do that,” Osvaldo suggests with acid courtesy. “Better yet, go to the archbishop for your confession and see what he has to say when a man seeks absolution each week with no remorse and every intention of committing the sin again.” Leather creaks as Brizzolari shifts uneasily on the kneeler, and suddenly Osvaldo understands. “He already told you to break it off, didn’t he! So you came to someone new, and stupid, who would require eighteen months to see through you!” Osvaldo wants to reach through the scrim and shake the man. “Can you possibly believe that God is fooled by such games?” To the silence beyond the grille, he says, “A rosary, my son! And you must break it off with that woman. Now make a good Act of Contrition.”
Osvaldo listens to the grudging prayer of repentance. Brizzolari leaves in a huff. Osvaldo gives lurking penitents five more minutes to work up their courage and spends the time trying to convince himself that his own anger was righteous, not just indignation at being played for a fool.
No one else comes. He pulls the curtain aside, stretches cramped muscles as thirty nuns begin to chant their rent-in-perpetuity: a rosary each evening for the soul of Ludovico Usodimare, the pirate-prince who built San Giobatta and Immacolata convent with a modest portion of his stupendous plunder.
Renzo Leoni was right: the basilica is not much to look at. Its plaster swags and plump putti are indifferently molded, though cheerfully painted. Above a boisterous baroque altar, John the Baptist and an unblushing Usodimare anachronistically flank the risen Christ, portrayed as an improbably young man triumphant in the Easter dawn, happy as a soccer forward who’s just netted a header. Osvaldo’s favorite fresco is an Annunciation: androgynous angel to the left, pubescent girl to the right, a sunburst Dove hovering between them. The composition is sentimental, but it captures the moment when the Virgin’s shock gives way to a secret pleasure. Was I too hard on Brizzolari? Osvaldo asks her in his he
art. What could I have said that would not have encouraged him to go on sinning?
Quieting his thoughts, he hears an answer. He knows he’s doing wrong. Tell him what the right thing is! Go home to your wife. Find a rose, and bring it to her. Treat her with the attention and care you gave your mistress. Love can bloom again. Women are forgiving, and so is God. Earn back your wife’s trust, and our Lord’s.
He envies the shoptalk of cobblers and waiters. Tailors and barbers can laugh at customers’ quirks, exchange trade secrets, discuss technique. Osvaldo Tomitz, who must remain silent about his work, never returns directly to the rectory after hearing confessions. He regrets antagonizing the rectory housekeeper by being late for supper, but he needs fresh air and sunlight on his face before joining his brothers in Christ at the table.
Outside he merges with the crowds that stream away from the port. Women, children, and old men queue for trams and cram funiculars ascending the cliffs to smaller inland towns. The Allies mean to deprive Hitler of anything northern Italy can produce, and their air raids have intensified since the armistice. Porto Sant’Andrea becomes airless and lightless at dusk, its windows sealed with blue paper so the coast won’t contrast with the sea, leading bombers toward docks, ironworks, steel mills, and warehouses. When military targets are hard to identify, civilian neighborhoods suffer the consequences. Anyone who can leave, does.
The menace is no longer from the air alone. By order of Field Marshal Albert Kesselring, Italian males between fifteen and fifty are being force-marched south to build German defenses, or stuffed into freight cars and shipped north to German factories. The only men who dare show themselves flaunt black shirts and boots. After a forty-five-day eclipse, the fascisti are back, loud and laughing, immune to German labor sweeps.
Radio loudspeakers mounted on the corners of public buildings crackle to life. Republican broadcasts begin with the state hymn, “Giovinezza,” and with a travesty of prayer. “I believe in God, Lord of heaven and earth. I believe in justice and truth. I believe in the resurrection of Fascist Italy. I believe in Mussolini and in Italy’s victory.” Ignoring this ridiculous credo, Osvaldo sprints up long stair-streets, leaving town by way of the Genoa gate. In the distance, a rabble of boys plays soccer on a makeshift pitch, raising dust in the late afternoon’s heat. Already sweating, Osvaldo yearns to cast off the black serge cassock, to rid his nose of its smell, his shoulders of its weight, his legs of its tangle. That’s out of the question, of course. Even so, he intends to hike up his skirts and scuffle for a football in the heat-burnt grass, taking such pleasure in the sport it seems as confessable as old Rina’s missed Mass.
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