Elena Ferrante - The Story of the Lost Child

“Very sure.”

“What’s the matter with me?” Lila protested.

“Nothing that has to do with your pregnancy.”

“What does it have to do with?”

“With your head.”

“What do you know about my head?”

“Your friend Nino was full of praise for it.”

Nino? Friend? Silence.

When we left I had to struggle to persuade Lila not to change doctors. Before going off she said, in her fiercest tones: your lover is certainly not my friend, but in my view he’s not your friend, either.

Here I was, then, driven forcefully into the heart of my problems: the unreliability of Nino. In the past Lila had showed me that she knew things about him I didn’t know. Was she now suggesting that there were still other facts known to her and not to me? It was pointless to ask her to explain; she left, cutting short any conversation.

Afterward I quarreled with Nino for his lack of tact, for the confidences that, although he denied it indignantly, he must surely have made to the wife of his colleague, for everything I kept inside me and that this time, too, in the end I stifled.

I didn’t say to him: Lila considers you a traitorous liar. It was pointless, he would have started laughing. But the suspicion remained that that mention of his unreliability alluded to something concrete. It was a slow, reluctant suspicion, I myself had no intention of transforming it into some intolerable certainty. And yet it persisted. So one Sunday in November, I went first to my mother, then, around six, to Lila’s house. My daughters were in Florence with their father, Nino was celebrating his father-in-law’s birthday with his family (that was how I put it now: your family). I knew that Lila was alone; Enzo had had to go and see some relatives of his in Avellino and had taken Gennaro.

The creature in my womb was nervous, I blamed the heavy air. Lila, too, complained that the baby was moving too much, she said it was forever creating a choppy sea in her belly. To calm him she wanted to take a walk, but I had brought pastries; I made the coffee myself, I wanted to have a private conversation, in the intimacy of that bare house with windows onto the stradone .

I pretended I was in the mood for idle talk. I mentioned matters that interested me less— Why does Marcello say you’re the ruin of his brother, what did you do to Michele —and in a tone partly of fun, as if they were just something to laugh about. I counted on slowly getting to the question that I really cared about: What do you know about Nino that I don’t know.

Lila answered unwillingly. She sat down, she got up, she said her stomach felt as if she had swallowed liters of carbonated drinks, she complained about the smell of the cannoli, which she usually liked but which now seemed to her bad. Marcello — you know what he’s like, she said, he’s never forgotten what I did to him as a girl, and since he’s a coward he doesn’t say things to your face, he acts like a good person, harmless, but he spreads gossip. Then she took the tone she always had in that phase, affectionate and at the same time slightly teasing: But you’re a lady, forget my troubles, tell me how your mother is. As usual she wanted me to talk about myself, but I didn’t yield. Moving from my mother, from her worries about Elisa and my brothers, I led her back to the Solaras. She grumbled, she said sarcastically that men place such an enormous importance on fucking, she laughed: not Marcello — although even he doesn’t joke — but Michele, who went crazy, he’s been obsessed with me for a long time, and even runs after the shadow of my shadow. She repeated that expression allusively— shadow of my shadow —she said that was why Marcello was angry and threatened her, he couldn’t bear the fact that she had put a leash on his brother and led him in directions that in his view were humiliating. She laughed again, she muttered: Marcello thinks he can scare me, but look, the only person who really knew how to scare people was his mother and you know how she ended up.

As she talked she kept touching her forehead, she complained of the heat, of the slight headache she’d had since the morning. I understood that she wanted to reassure me but also, in a contradictory manner, show me a little of what was there where she lived and worked every day, behind the façade of the houses, on the streets of the new neighborhood and the old one. Thus on the one hand she repeatedly denied the danger, on the other drew me a picture of spreading crime, extortion, assault, theft, usury, revenge followed by revenge. The secret red book that Manuela maintained and that after her death had passed to Michele was now controlled by Marcello, who was also taking away from his brother — out of distrust — the management of the legal and illegal trafficking, the political friendships. She said suddenly: Marcello has been bringing drugs to the neighborhood for several years, and I want to see where it’s going to end up. A remark like that. She was very pale, fanning herself with the edge of her skirt.

Of all her allusions, only the one to drugs struck me, particularly because of her tone of disgust and disapproval. Drugs for me at that time meant Mariarosa’s house, or, on certain evenings, the apartment on Via Tasso. I had never used drugs, apart from smoking once or twice, out of curiosity, but I wasn’t outraged if others did, in the circles I had frequented and did frequent no one was outraged. So, to keep the conversation going, I stated an opinion, drawing on the days in Milan, and on Mariarosa, for whom taking drugs was one of many channels for individual well-being, a way of freeing oneself from taboos, a cultivated form of release. But Lila shook her head in opposition: What release, Lenù, the son of Signora Palmieri died two weeks ago, they found him in the gardens. And I perceived the irritation she felt at that word, release , at my way of saying it, assigning it a positive value. I stiffened, I ventured: He must have had some heart trouble. She answered, He had heroin trouble, and she quickly added: That’s enough, I’m fed up, I don’t want to spend Sunday talking about the revolting activities of the Solaras.

Yet she had done so, and more than usual. A long moment slipped by. Out of restlessness, out of weariness, out of choice — I don’t know — Lila had slightly widened the net of her conversation, and I realized that even if she hadn’t said much she had filled my head with new images. I had long known that Michele wanted her — wanted her in that abstractly obsessive way that was harmful to him — and it was clear that she had taken advantage of it by bringing him to his knees. But now she had evoked the shadow of her shadow , and with that expression had thrust before my eyes Alfonso, the Alfonso who posed as a reflection of her in a maternity dress in the store on Via dei Mille, and I had seen Michele, a dazzled Michele, lifting his dress, holding him tight. As for Marcello, in a flash drugs stopped being what they had seemed to me, a liberating game for wealthy people, and moved into the sticky theater of the gardens beside the church, they had become a viper, a poison that spread through the blood of my brothers, of Rino, perhaps of Gennaro, and murdered, and brought money into the red book once kept by Manuela Solara and now — having passed from Michele to Marcello — by my sister, in her house. 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.