[...] I was afraid that there was a break between the before—archaic models and myths, precisely—and the after, Olga the new woman, and that Olga would seem to be an expression of the progressive fates of the female gender. I decided instead to deepen the confusion of time, as in Troubling Love, where what was Amalia is never different from what is Delia, and so only at the end can Delia state as a goal, as the high point of her own vital expansion, the positive result of her whole journey: Amalia had been, I was Amalia. I wanted the past not to be overcome but to be redeemed, precisely as a storehouse of sufferings, of rejected ways of being.