I hoped that it would pass, but inadequacy and shame intensified. Once Lila danced a waltz with her brother. They danced so well together that we left them the whole space. I was spellbound. They were beautiful, they were perfect together. As I watched, I understood conclusively that soon she would lose completely her air of a child-old woman, the way a well-known musical theme is lost when it’s adapted too fancifully. She had become shapely. Her high forehead, her large eyes that could suddenly narrow, her small nose, her cheekbones, her lips, her ears were looking for a new orchestration and seemed close to finding it. When she combed her hair in a ponytail, her long neck was revealed with a touching clarity. Her chest had small graceful breasts that were more and more visible. Her back made a deep curve before landing at the increasingly taut arc of her behind. Her ankles were still too thin, the ankles of a child; but how long before they adapted to her now feminine figure? I realized that the males, watching as she danced with Rino, were seeing more than I was. Pasquale above all, but also Antonio, also Enzo. They kept their eyes on her as if we others had disappeared. And yet I had bigger breasts. And yet Gigliola was a dazzling blonde, with regular features and nice legs. And yet Carmela had beautiful eyes and, especially, provocative movements. But there was nothing to be done: something had begun to emanate from Lila’s mobile body that the males sensed, an energy that dazed them, like the swelling sound of beauty arriving. The music had to stop before they returned to themselves, with uncertain smiles and extravagant applause.