Mark Winegardner - The Godfather returns

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The Godfather returns: краткое содержание, описание и аннотация

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Even before you open the book, the stark red, white and black cover sparks the strains of Nino Rota's "The Godfather Waltz" begin playing in your mind. Mark Winegardner has been granted to task of writing a sequel to Mario Puzo's essential 1969 novel The Godfather, a novel which not only must pick up the story of that book, but must also fit the characters and situations Puzo, Francis Ford Coppola, Al Pacino, and others traced through three epic films. The result in The Godfather Returns.
Perhaps most of Winegardner's readers will be more familiar with the films than with the novel, which followed several different characters, many of whom, such as Johnny Fontane or Lucy Mancini, are only peripheral to the films. Winegardner returns to Puzo's novel to follow several different characters. Taking a technique for the second film, however, he also moves through time to present Michael Corleone's story before the first film, between the first two films, and between the second and third films.
Winegardner's decisions to fill in the blanks between the films is one of the weaknesses of The Godfather Returns. The films left out much of the empire building Michael had to do between them in his attempt to go legitimate. While Winegardner manages to add interesting layers of intrigue to Michaels' quest, and to the characters who surround him, the novel really works best when the characters are engaging in mafioso wheeling and dealing.
One of the strengths of Puzo's work was the characters he made come to life, and Winegardner does an excellent job not only with the lives of Puzo's characters, but with his own. Just as Puzo eventually picked up the story of Santino's son, Vincent, in "The Godfather, Part III," Winegardner also elects to follow Santino's offspring, in this case his twin daughters, as they take their first steps at breaking from the family business. Fredo, a pivotal character in the first two films, is actually fleshed out in The Godfather Returns, in which Winegardner adds to the appetites he exhibits in the first films and gives a deeper look into his need to become his own man and gain his older brother's approval.
The central character to the novel, however, is Nick Geraci, a member of the Corleone family who, Winegardner reveals, becomes the button man who killed Sal Tessio, his mentor. After proving his loyalty to the Corleones, it is clear that Geraci will eventually turn on the family as he tries to strike out on his own, setting up an eventual confrontation with Michael. Although it is clear Michael will be victorious, the cost of his victory helps build tension.
In many ways, Winegardner manages to recapture the style and spirit of Puzo's original novel. Nevertheless, there is the feeling that something is missing from The Godfather Returns. Winegardner successfully captures every individual aspect of Puzo's work, whether in the original novel or the films, but there is a magic beneath it that is missing. Despite missing the Puzo magic, The Godfather Returns is a welcome reintroduction to the Corleone clan.
Steven H Silver

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Just the two sorry fiancés. And Billy. Her Billy.

Francesca watched him go, eager to save him from an afternoon of cards, televised football, and endlessly proffered snacks, suddenly weak in the knees with desire for him-had that even happened, back in Jacksonville? But she was pulled away from him, powerless against the tide of women who swept her, as if in a dream, into her grandmother’s hot, pungent kitchen: a fortress of enduring love that time had somehow never touched.

Clouds of steam, a mist of flour, tubs of boiling oil, counters spread with sheets of dough, waxed paper covered with slabs of fresh, seasoned fish. That hulking white stove, a museum piece that would probably outlive them all. In the next room, the spindle of the record player was crammed with the same Christmas 45s that had been wafting into this kitchen for Francesca’s whole life: Caruso, Lanza, Fontane, you name it. Children ran in and out, always underfoot, nibbling sweet scraps. Aunt Kay stood at the sink, washing dishes until it came time to make the handful of things she knew how to make. Her mother, Sandra, sturdy and earthy, and Aunt Connie, shrill and bitter, had never liked each other, but in this kitchen they anticipated one another’s moves and needs as if they were Fred Astaire and Ginger Rogers. Angelina-her grandmother’s Palermitan aunt, who must be a hundred years old now and still without a word of English-sat in the corner behind a card table, assembling ingredients that came her way. And of course Grandma Carmela oversaw everything, barking out instructions, stepping in to execute the most tricky tasks, all with an abiding love always felt but never stated.

Kathy pointed to a pyramid of milky-white eggplant, then handed Francesca a chef’s knife and a freshly uncapped bottle of black cherry Brookdale soda, chilled in a snowbank outside. One look at the bottle-they couldn’t get it in Florida, of course-and Francesca broke into tears again. Where had the tough girl gone? Where was the part of her that had been Kathy?

“Ah, the sweet tears of joy,” her grandmother said in Italian. She raised her chipped coffee mug, the same one she’d used for as long as Francesca could remember, its faded image of the Hawaiian Islands now crusted on the outside with the remnants of a dozen doughs and batters. “For a proper cena de Natale, this is the ingredient most crucial of all!”

Who could help but be moved by this affirmation, from the lips of a woman widowed less than a year? Each of the other women scrambled to find her own cup, mug, or bottle and raised it high.

Against the nape of her neck, Francesca felt Kathy’s face, the temple of those eyeglasses. “You’re just a big sap,” Kathy whispered, and together, identically, the twins laughed.

At Mass, Francesca had to keep whispering instructions to Billy, who’d never set foot in a Catholic church before. He was as endearingly clumsy with the kneeling and the crossing as he was on the dance floor. But she could feel Kathy’s eyes on Billy, even if Billy couldn’t. She could hear Kathy saying that this was just the kind of thing that’s lovable now and makes you crazy later, even if Kathy-seated at the far end of the pew, steadying poor Zia Angelina-uttered nothing but hymn and litany.

When the church bell tolled for repentance, Francesca made a fist and struck her breast softly four times, one for each hour in the Sand Dollar Inn. At the altar rail, she did it again, one for each time that they’d made love. Walking back to the pew, she kept her eyes down, penitent, away from Billy’s, but once she kneeled and finished her prayer, she sat back and took his hand. Only then did she realize that Aunt Kay-next to her, still on her knees, her lips moving in silent prayer-had taken Communion, too.

“She converted,” Kathy said on the ride home.

“I figured that, but after all these years?” Francesca said. “For the kids, I guess?”

They were in Billy’s T-Bird.

Kathy raised an eyebrow. Even with the glasses, she bore a disconcerting resemblance to their mother. “Per l’anima mortale di suo marito.” For her husband’s mortal soul.

Her husband’s mortal soul? Francesca frowned at her sister.

“She goes every day,” Kathy said. “Just like Grandma. And for the same reason.”

“Everybody goes for the same reason.” Francesca still hadn’t been able to pull her sister aside and ask what she’d meant when she’d said, You’re pregnant. “More or less.”

Kathy’s eyes widened, exasperated.

Despite or more likely because of the heavy absences felt by nearly everyone around the table, the Corleone family’s traditional Christmas Eve feast of the seven fishes was as loud and raucous as ever. The wine flowed freely, the women making up for what, in years past, would have been drunk by men. During the early courses, the children’s Christmas letters, expressing their plainspoken love for their parents, were read one by one, youngest to the oldest. The poignant and disturbing notes receded as the writers got older, but every letter was received with strident good cheer, culminating in the letter from Aunt Connie. It was the first time in more than thirty years that Carmela Corleone had received only one declaration of filial love-a delicate moment that Connie, to the astonishment of more than a few, lightened with a letter so hilarious that it was still being passed around courses later.

Likewise, all hearts were warmed by the story of Vito Corleone’s lone intrusion into the romantic lives of his children-the blind date he’d arranged many years before for Connie, soon after she’d begun dating Carlo Rizzi, with a nice boy who’d just graduated from college with a business degree. Ed Federici’s lively, self-deprecating version of the disastrous date inspired Mama Corleone to slip a champagne toast to the happy fidanzati in between courses.

And what courses they were: Crab legs and shrimp cocktail. Fried baccala and stuffed calamari. Steamed clams in a marinara sauce, over fresh angel-hair pasta. And finally-at least until the break before dessert-flounder stuffed with spinach, sun-dried tomatoes, mozzarella cheese, and several secret ingredients Zia Angelina had inserted when no one was watching.

“The risk of heart attack,” said Ed Federici, palms on the table, dazed as a man looking at the empty space where his stolen car used to be, “triples in the first hour after a heavy meal.”

Stan had given up halfway through the last course and was asleep in the next room, bathed in the flickering glow of an unwatched football game. Only two people were still eating: Frankie, forking it in like a champ, and Billy, who was poking at his flounder like a man who’d found gold and was trying to recall why it was valuable.

Connie shushed Ed and slapped him on top of his florid, prematurely bald head. “Mamma hears that, she’ll be the one who has the heart attack.” She’d been drinking wine at the same pace all day and had just opened a new bottle of Marsala. Her slap, theoretically playful, was loud enough that those watching it flinched. Several people in other rooms stuck their head around the corner to investigate. The slap had immediately left a hand-shaped mark.

Francesca led Billy from the table, taking him into her grandfather’s old office just as Aunt Kay finished folding up the kids’ table. “You get enough to eat, Billy?” Kay asked.

“Yes, ma’am.” He sat down heavily on the leather couch against the wall.

“Save room for dessert,” Kay said, smirking. “Hey, either of you seen Anthony?”

“He’s outside, I think,” Billy said. “With Chip and a bunch of the Clemenza kids.” They were the children of kids Francesca used to play with when she was Chip’s age. Now those playmates had families of their own and lived in houses down the street.

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