The Story of a New Name (The Neapolitan Novels) by Elena Ferrante Page A

certain songs. I still don’t know why he behaved that way. Of course, afterward he revealed what he wanted. He wanted me to ally myself with him for the good of Lila. He said that she had to be helped to understand how necessary it was to behave like a wife and not like an enemy. He asked me to persuade her to help out in the second grocery and with the accounts. But for that purpose he didn’t have to confess to me in that way. Probably he thought that Lila had kept me minutely informed and therefore he had to give me his version of the facts. Or maybe he hadn’t counted on opening himself up so frankly to his wife’s best friend, and had done so only on the wave of emotion. Or he hypothesized that, if he moved me, I would then move Lila by reporting everything to her. Certainly I listened to him with increasing sympathy. I was pleased by that free flow of intimate confidences. But above all, I have to admit, what pleased me was the importance he attached to me. When in his own words he articulated a suspicion that I myself had always had, that is, that Lila harbored a force that made her capable of anything, even of keeping her body from conceiving children, it seemed that he was attributing to me a beneficent power, one that could win over Lila’s maleficent one, and this flattered me. We got out of the car, and arrived at the dressmaker’s shop. I felt consoled by that acknowledgment. I went so far as to say pompously, in Italian, that I would do everything possible to help them to be happy.
    But as soon as we were in front of the dressmaker’s window I became nervous again. We both stopped to look at the framed photograph of Lila amid fabrics of many colors. She was seated, her legs crossed, her wedding dress pulled up a little to reveal her shoes, an ankle. She rested her chin on the palm of one hand, her gaze was solemn, intense, turned boldly toward the lens, and in her hair shone a crown of orange blossoms. The photographer had been fortunate. I felt that he had caught the force Stefano had talked about; it was a force—I seemed to grasp—against which not even Lila could prevail. I turned as if to say to him, in admiration and at the same time dismay, here’s what we were talking about, but he pushed open the door and let me go in first.
    The tones he had used with me disappeared, and he was harsh with the dressmaker. He said that he was Lina’s husband, he used that precise construction. He explained that he, too, was in business, but that it would never occur to him to get publicity in that way. He went so far as to say: You are a good-looking woman, what would your husband say if I took a photograph of you and stuck it in amid the provolone and the salami? He asked for the photograph back.
    The dressmaker was bewildered; she tried to defend herself, and finally she gave in. But she appeared very unhappy, and to demonstrate the effectiveness of her initiative and the basis of her regret, she told three or four anecdotes that later, over the years, became a small legend in the neighborhood. Among those who had stopped in to ask for information about the young woman in the wedding dress during the period in which the photograph was in the window were the famous singer Renato Carosone, an Egyptian prince, Vittorio De Sica, and a journalist from the paper
Roma
, who wanted to talk to Lila and send a photographer to do a story on bathing suits like the ones worn at beauty contests. The dressmaker swore that she had refused to give Lila’s address to anyone, even though, especially in the case of Carosone and of De Sica, the refusal had seemed to her very rude, given the status of those persons.
    I noticed that the more the dressmaker talked the more Stefano softened again. He became sociable, he wanted the woman to tell him in more detail about those episodes. When we left, taking with us the photograph, his mood had changed, and the monologue of the return did not have the anguished tone of the earlier