[...] I had been out of Italy once, in Paris, with Franco, and I had felt exhilarated by my own audacity. But then it seemed to me that my world was and would forever remain the neighborhood, Naples, while the rest was like a brief outing in whose special climate I could imagine myself as I would never in fact be. Montpellier, on the other hand, although it was far less exciting than Paris, gave me the impression that my boundaries had burst and I was expanding. The pure and simple fact of being in that place constituted in my eyes the proof that the neighborhood, Naples, Pisa, Florence, Milan, Italy itself were only tiny fragments of the world and that I would do well not to be satisfied with those fragments any longer. In Montpellier I felt the limitations of my outlook, of the language in which I expressed myself and in which I had written. In Montpellier it seemed to me evident how restrictive, at thirty-two, being a wife and mother might be. And in all those days charged with love I felt, for the first time, freed from the chains I had accumulated over the years — those of my origins, those I had acquired through academic success, those derived from the choices I had made in life, especially marriage. There I also understood the reasons for the pleasure I had felt, in the past, on seeing my first book translated into other languages and, at the same time, the reasons for my disappointment at finding few readers outside Italy. It was marvelous to cross borders, to let oneself go within other cultures, discover the provisional nature of what I had taken for absolute. [...]

I was very tired, and paid less and less attention to my appearance; I lost weight. And yet my editors and the audiences I encountered night after night liked me. Moving here and there, discussing with this and that person in a language that wasn’t mine but that I rapidly learned to manage, I gradually rediscovered an aptitude that I had displayed years before, with my previous book: I had a natural ability to transform small private events into public reflection. Every night I improvised successfully, starting from my own experience. I talked about the world I came from, about the poverty and squalor, male and also female rages, about Carmen and her bond with her brother, her justifications for violent actions that she would surely never commit. I talked about how, since I was a girl, I had observed in my mother and other women the most humiliating aspects of family life, of motherhood, of subjection to males. I talked about how, for love of a man, one could be driven to be guilty of every possible infamy toward other women, toward children. I talked about my difficult relationship with the feminist groups in Florence and Milan, and, as I did, an experience that I had underestimated suddenly became important: I discovered in public what I had learned by watching that painful effort of excavation. I talked about how, to assert myself, I had always sought to be male in intelligence — I started off every evening saying I felt that I had been invented by men, colonized by their imagination — and I told how I had recently seen a male childhood friend of mine make every effort possible to subvert himself, extracting from himself a female.

[...] I, on the other hand, in those French days, felt that I was at the center of chaos and yet had tools with which to distinguish its laws. That conviction, reinforced by the small success of my book, helped me to be somewhat less anxious about the future, as if, truly, everything that I was capable of adding up with words written and spoken were destined to add up in reality as well. Look, I said to myself, the couple collapses, the family collapses, every cultural cage collapses, every possible social-democratic accommodation collapses, and meanwhile everything tries violently to assume another form that up to now would have been unthinkable: Nino and me, the sum of my children and his, the hegemony of the working class, socialism and Communism, and above all the unforeseen subject, the woman, I. Night after night, I went around recognizing myself in an idea that suggested general disintegration and, at the same time, new composition.

On the evenings when I talked about my book in foreign cities I knew nothing about, there was a host of questions on the harshness of the political climate, and I got by with generic phrases that in essence rotated around the word “repress.” As a fiction writer, I felt obliged to be imaginative. No space is spared, I said. A steamroller is moving from land to land, from West to East, to put the whole planet in order: the workers to work, the unemployed to waste away, the starving to perish, the intellectuals to speak nonsense, blacks to be black, women to be women. But at times I felt the need to say something truer, genuine, my own, and I told the story of Pasquale in all its tragic stages, from childhood to the choice of a clandestine life. I didn’t know how to make more concrete speeches, the vocabulary was what I had appropriated ten years earlier, and I felt that the words had meaning only when I connected them to certain facts of the neighborhood, for it was only old, worn-out material, of certain effect. [...]

[...] Throw him out, I repeated, when Nino tried to come near me. Franco kept him away, said calmly: Leave her alone, leave the room. Nino obeyed and I told Franco everything in the most confused way. He listened without interrupting, until he realized that I had no more energy. Only at that point did he say, in his refined way, that it was a good rule not to expect the ideal but to enjoy what is possible. I got mad at him, too: The usual male talk, I shouted, who gives a damn about the possible, you’re talking nonsense. He wasn’t offended, he wanted me to examine the situation for what it was. All right, he said, this man has lied to you for two and a half years, he told you he had left his wife, he said he didn’t have relations with her, and now you discover that seven months ago he made her pregnant. You’re right, it’s horrible, Nino is an abject being. But once it was known — he pointed out — he could have disappeared, forgotten about you. Why, then, did he drive from Naples to Milan, why did he travel all night, why did he humiliate himself, accusing himself, why did he beg you not to leave him? All that should signify something. It signifies, I cried, that he is a liar, that he is a superficial person, that he is incapable of making a choice. And he kept nodding yes, he agreed. But then he asked: What if he loved you, seriously, and yet knew that he could love you only in this way?

[...] He never attempted generalizations or superfluous words. He was, rather, sharp, almost vulgar. If he is more important to you than yourself — he said one evening, seeming almost dazed — you should take him as he is: wife, children, that permanent tendency to sleep with other women, the vulgar things he is and will be capable of. Lena, Lenuccia, he murmured, affectionately, shaking his head. And then he laughed, got up from the chair, said obscurely that in his view love ended only when it was possible to return to oneself without fear or disgust, and left the room with shuffling steps, as if he wanted to reassure himself of the materiality of the floor. I don’t know why Pasquale came to mind, that night, a person very far from him in social background, culture, political choices. And yet, for an instant, I imagined that if my friend from the neighborhood had managed to reemerge alive from the darkness that had swallowed him he would have the same way of walking.

There was blood on the pillow and on the sheet, a large blackish stain that extended to his feet. Death is so repellent. Here I will say only that when I saw that body deprived of life, that body which I knew intimately, which had been happy and active, which had read so many books and had been exposed to so many experiences, I felt both repulsion and pity. Franco had been a living material saturated with political culture, with generous purposes and hopes, with good manners. Now he offered a horrible spectacle of himself. He had rid himself so fiercely of memory, language, the capacity to find meaning that it seemed obvious the hatred he had for himself, for his own skin, for his moods, for his thoughts and words, for the brutal corner of the world that had enveloped him.

[...] What were my daughters and I doing in Naples? Were we there just to make Nino happy? Was I lying to myself when I portrayed myself as free and autonomous? And was I lying to my audience when I played the part of someone who, with her two small books, had sought to help every woman confess what she couldn’t say to herself? Were they mere formulas that it was convenient for me to believe in while in fact I was no different from my more traditional contemporaries? In spite of all the talk was I letting myself be invented by a man to the point where his needs were imposed on mine and those of my daughters?

At those moments I saw myself suddenly for what I was: a slave, willing to always do what he wanted, careful not to exaggerate in order not to get him in trouble, not to displease him. I wasted my time cooking for him, washing the dirty clothes he left in the house, listening to all his troubles at the university and in the many responsibilities that he was accumulating, thanks to the aura of good feeling that surrounded him and the small powers of his father-in-law; I always welcomed him joyfully, I wanted him to be happier with me than in the other house, I wanted him to relax, to confide, I felt sorry that he was continuously overwhelmed by obligations; I even wondered if Eleonora might love him more than I did, since she accepted every insult just to feel that he was still hers. But sometimes I couldn’t stand it anymore and I yelled at him, despite the risk that the girls might hear: Who am I for you, tell me why I’m in this city, why I wait for you every night, why I tolerate this situation.

[...] I felt all the fascination of the way Lila governed the imagination of others or set it free, at will, with just a few words: that speaking, stopping, letting images and emotions go without adding anything else. I’m wrong, I said to myself in confusion, to write as I’ve done until now, recording everything I know. I should write the way she speaks, leave abysses, construct bridges and not finish them, force the reader to establish the flow: Marcello Solara who takes off quickly with my sister Elisa, with Silvio, with Peppe, with Gianni, with Rino, with Gennaro, with Michele enthralled by the shadow of the shadow of Lila; suggest that they all slip inside the veins of Signora Palmieri’s son, a boy I don’t even know and who now causes me pain, veins far away from those of the people Nino brings to Via Tasso, from Mariarosa’s, from those of a friend of hers — I now remembered — who was sick, and had to detox, and my sister-in-law, too, wherever she is, I haven’t heard from her for a long time, some people are always saved and some perish.