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Lara's instinct. Emilia Tartaglia Polcini, Graus editions, Naples-(P. Giustiniani)
Sunday 9 February 2025, 11.00 am at the monumental complex of Santa Maria la Nova in Naples, for the Books&Museum review, the presentation of l'istinto di Lara, by Emilia Tartaglia Polcini, was held. Preface by Maria Cristina Donnarumma (Friend of the Strega Prize Sunday), Graus editions, Naples 2024, 155 pages. This debut novel by Emilia Tartaglia Polcini delves very well, with a pressing rhythm, into the «three main characters» alongside whom «others rotate who cannot be defined as entirely secondary» (from the Preface, page 7); and this not without the additional «protagonist of no secondary importance… nature with its noises, its colors, its scents» (Ibid., page 8).
You can see the pen of someone accustomed to short stories and theatrical plays also in this one, which I would define as a coming-of-age novel, whose short and effective chapters, not numbered, follow one another in a compelling way, to make us gradually perceive, so to speak directly, the various aspects of what the title of the book calls, precisely, Lara's instinct. It is, in many respects, the same instinct of her mother Mélanie, who found herself acting as the wife of an unlikely «peacock», her husband, who, despite her presence, was capable of swelling «next to that unlikely companion who was only slightly older than his daughter» (page 54). An instinct that soon leads Lara to be terrified of her father (compare pages 62 and 63), also because he, with his ways and his repeated and shameless betrayals with his “kitten” (page 49), was causing, as we read verbatim, everything to collapse (both relationships and feelings, both passions and hobbies that were not his); all this given the fact, immediately evident, that «his marriage was falling apart» (page 48).
The father lives alone, even though he is with his wife, her friend, and his daughter; he is a construction magnate (compare page 115), who can even have non-scheduled flights, but cannot fly higher than his own genitals; but above all, he appears to be taken by his hobbies, as long as they are always lucrative, such as the sparkling wine production of his wine products, which he is promoting even in Japan, that is, "in a country that only in modern times is beginning to open up to the Western culture of wine consumption" (page 115). The short narrative chapters occasionally feature parts printed in italics: they are almost the commentary of a chorus of the ancient Greek theater, in the sense that, periodically, the Author carves out her own spaces: in these lines of writing, she presents her observations on the facts, on the climate, on the environment, on the events, on the souls, on the emotions...; above all, she does so in those lines in which the narrated events give the sense of the few moments - ephemeral!, just as she opens and closes the chapter on pages 37 to 39 - in which some glimmer of happiness seems to make its way on the horizon. Among others, the italicized part of pages 60 to 65, tells, in counterpoint, the real "terror" that Lara has of her father, also because he does not share what he considers, textually, «that stupid activity of ballet» (page 61); this is a characteristic repeated in another passage in italics, where Lara «little by little, towards her father… a real terror had taken shape» (page 63)The world of people and environments evoked by these pages does not belong to the plebs, but to the upper middle class involved in international business and transactions, particularly in the production of the wine industry; we are talking about the Castaldi family of Lomellina, whose exponent - and father of Lara - is, in fact, Filippo Castaldi of Lomellina: a man with a strong weakness for carnal sensuality that, in the plot, leads him to introduce his lover at his wife's birthday party, or even to have her live in the house together with his daughter Lara, in the years in which his wife, following a fall from a horse - which happened after the terrible moment of his betrayal, when she discovers that her husband does not disdain public sentimentality with his lover.
By now Lara's mother, despite her very vivid imagination, lives elsewhere in a neurovegetative state. Slave, like a teenager, to the feminine charm of an escort, as when the narration in italics observes that Lara «saw her father Filippo who… accompanied a young woman to the car and like a teenager spent himself in effusions, promising to join her as soon as possible» (page 65). A «vain to the end» (page 152), as the now mature and married Lara will sentence (whose heart a young man finally steals: page 85), in front of her father's tomb, «in the Monumental Cemetery of Milan, where he had been buried after being cremated» (page 152). Even though she belongs to this world, also made up of waiters, housekeepers, business trips throughout Europe or Japan, Lara is a person apart: «she didn't like those parties or even those people... she hated the lack of genuineness of the guests» (page 13). She loves dance, first the European one (where she will be the prima ballerina in the role of Odette in the famous ballet Swan Lake: see page 77); and then the Japanese one (in the traditional dance Nihon Buyo: page 98), during which she will suffer a serious fall, which knocks her down for a while but does not tame her. Lara is more of a mother's daughter than a father's, in the sense that her mother Mélanie, who in turn was the daughter of parents both belonging to noble families, had instilled in Lara a sympathy for different worlds, not shared by the more pragmatic Filippo: «If for Mélanie music was the essence of life, for her daughter dance was life». Furthermore, mother Mélanie - she recalls a page in italics - «sweet and kind like her daughter, had immediately bonded with that little dog» (page 62), Lara's little dog, also badly destroyed by the pragmatic Filippo. Lara shows that she has understood his personal structure: in addition to being a traitor to his wife, Filippo almost has the vocation «to ruin everything as always!» (page 79), even if her daughter loves him and would hope - in vain - to see him in the front row watching her dance (compare page 82). But perhaps the not apparent merit of the book and of Lara's instinct, well rendered by the colorful cover, which appropriately evokes Paris and Tokyo, is that of describing interpersonal relationships: those that are of blood and that are often interrupted by temperaments and characters; those that arise from interpersonal frequentation and that often fray in the same marital relationship; as happens on the evening of her birthday party to Filippo's wife who, not even imagining that the décolleté given to her by her husband Filippo was identical to the one the cheater had also given to his lover Rosemary, sees the relationship that she would have liked to rebuild as a fairytale relationship crumble (see page 52). A relationship that soon dissolves, like the semifreddo prepared as the final dessert of the birthday party, which, the Author writes with shared irony, "was melting together with the last lit candles, and that image of decay was perfect for the situation" (page 59). Relationships are more in memories - in moments fished out of memory than in harsh reality. For example, in the memory of little Lara, when she spent a holiday in the mountains as a child (compare pages 74 to 75); or when the protagonist, her experience in Japan having ended with a fall and fractures, desires «now more than ever, to breathe the air of home, to nourish herself with the most beautiful memories and to fight to rebuild a shred of normality» (page 133), perhaps with woodland or plant therapy, or even with hippotherapy: «Riding fast would have alleviated that sense of oppression and anguish for the future» (page 93). But above all, as happens in the chapter that bears the same name as the book (pages 142 to 150), before the Epilogue, when «she knew she was on a motorbike with a guy she had met by chance. It wasn't her style to hang out with people she'd never seen, much less to throw herself into adventure like that, like a reckless girl" (page 149).
Pasquale Giustiniani for Books&Museum
Naples
You can see the pen of someone accustomed to short stories and theatrical plays also in this one, which I would define as a coming-of-age novel, whose short and effective chapters, not numbered, follow one another in a compelling way, to make us gradually perceive, so to speak directly, the various aspects of what the title of the book calls, precisely, Lara's instinct. It is, in many respects, the same instinct of her mother Mélanie, who found herself acting as the wife of an unlikely «peacock», her husband, who, despite her presence, was capable of swelling «next to that unlikely companion who was only slightly older than his daughter» (page 54). An instinct that soon leads Lara to be terrified of her father (compare pages 62 and 63), also because he, with his ways and his repeated and shameless betrayals with his “kitten” (page 49), was causing, as we read verbatim, everything to collapse (both relationships and feelings, both passions and hobbies that were not his); all this given the fact, immediately evident, that «his marriage was falling apart» (page 48).
The father lives alone, even though he is with his wife, her friend, and his daughter; he is a construction magnate (compare page 115), who can even have non-scheduled flights, but cannot fly higher than his own genitals; but above all, he appears to be taken by his hobbies, as long as they are always lucrative, such as the sparkling wine production of his wine products, which he is promoting even in Japan, that is, "in a country that only in modern times is beginning to open up to the Western culture of wine consumption" (page 115). The short narrative chapters occasionally feature parts printed in italics: they are almost the commentary of a chorus of the ancient Greek theater, in the sense that, periodically, the Author carves out her own spaces: in these lines of writing, she presents her observations on the facts, on the climate, on the environment, on the events, on the souls, on the emotions...; above all, she does so in those lines in which the narrated events give the sense of the few moments - ephemeral!, just as she opens and closes the chapter on pages 37 to 39 - in which some glimmer of happiness seems to make its way on the horizon. Among others, the italicized part of pages 60 to 65, tells, in counterpoint, the real "terror" that Lara has of her father, also because he does not share what he considers, textually, «that stupid activity of ballet» (page 61); this is a characteristic repeated in another passage in italics, where Lara «little by little, towards her father… a real terror had taken shape» (page 63)The world of people and environments evoked by these pages does not belong to the plebs, but to the upper middle class involved in international business and transactions, particularly in the production of the wine industry; we are talking about the Castaldi family of Lomellina, whose exponent - and father of Lara - is, in fact, Filippo Castaldi of Lomellina: a man with a strong weakness for carnal sensuality that, in the plot, leads him to introduce his lover at his wife's birthday party, or even to have her live in the house together with his daughter Lara, in the years in which his wife, following a fall from a horse - which happened after the terrible moment of his betrayal, when she discovers that her husband does not disdain public sentimentality with his lover.
By now Lara's mother, despite her very vivid imagination, lives elsewhere in a neurovegetative state. Slave, like a teenager, to the feminine charm of an escort, as when the narration in italics observes that Lara «saw her father Filippo who… accompanied a young woman to the car and like a teenager spent himself in effusions, promising to join her as soon as possible» (page 65). A «vain to the end» (page 152), as the now mature and married Lara will sentence (whose heart a young man finally steals: page 85), in front of her father's tomb, «in the Monumental Cemetery of Milan, where he had been buried after being cremated» (page 152). Even though she belongs to this world, also made up of waiters, housekeepers, business trips throughout Europe or Japan, Lara is a person apart: «she didn't like those parties or even those people... she hated the lack of genuineness of the guests» (page 13). She loves dance, first the European one (where she will be the prima ballerina in the role of Odette in the famous ballet Swan Lake: see page 77); and then the Japanese one (in the traditional dance Nihon Buyo: page 98), during which she will suffer a serious fall, which knocks her down for a while but does not tame her. Lara is more of a mother's daughter than a father's, in the sense that her mother Mélanie, who in turn was the daughter of parents both belonging to noble families, had instilled in Lara a sympathy for different worlds, not shared by the more pragmatic Filippo: «If for Mélanie music was the essence of life, for her daughter dance was life». Furthermore, mother Mélanie - she recalls a page in italics - «sweet and kind like her daughter, had immediately bonded with that little dog» (page 62), Lara's little dog, also badly destroyed by the pragmatic Filippo. Lara shows that she has understood his personal structure: in addition to being a traitor to his wife, Filippo almost has the vocation «to ruin everything as always!» (page 79), even if her daughter loves him and would hope - in vain - to see him in the front row watching her dance (compare page 82). But perhaps the not apparent merit of the book and of Lara's instinct, well rendered by the colorful cover, which appropriately evokes Paris and Tokyo, is that of describing interpersonal relationships: those that are of blood and that are often interrupted by temperaments and characters; those that arise from interpersonal frequentation and that often fray in the same marital relationship; as happens on the evening of her birthday party to Filippo's wife who, not even imagining that the décolleté given to her by her husband Filippo was identical to the one the cheater had also given to his lover Rosemary, sees the relationship that she would have liked to rebuild as a fairytale relationship crumble (see page 52). A relationship that soon dissolves, like the semifreddo prepared as the final dessert of the birthday party, which, the Author writes with shared irony, "was melting together with the last lit candles, and that image of decay was perfect for the situation" (page 59). Relationships are more in memories - in moments fished out of memory than in harsh reality. For example, in the memory of little Lara, when she spent a holiday in the mountains as a child (compare pages 74 to 75); or when the protagonist, her experience in Japan having ended with a fall and fractures, desires «now more than ever, to breathe the air of home, to nourish herself with the most beautiful memories and to fight to rebuild a shred of normality» (page 133), perhaps with woodland or plant therapy, or even with hippotherapy: «Riding fast would have alleviated that sense of oppression and anguish for the future» (page 93). But above all, as happens in the chapter that bears the same name as the book (pages 142 to 150), before the Epilogue, when «she knew she was on a motorbike with a guy she had met by chance. It wasn't her style to hang out with people she'd never seen, much less to throw herself into adventure like that, like a reckless girl" (page 149).
Pasquale Giustiniani for Books&Museum
Naples
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By Scenari FuturiSunday 9 February 2025, 11.00 am at the monumental complex of Santa Maria la Nova in Naples, for the Books&Museum review, the presentation of l'istinto di Lara, by Emilia Tartaglia Polcini, was held. Preface by Maria Cristina Donnarumma (Friend of the Strega Prize Sunday), Graus editions, Naples 2024, 155 pages. This debut novel by Emilia Tartaglia Polcini delves very well, with a pressing rhythm, into the «three main characters» alongside whom «others rotate who cannot be defined as entirely secondary» (from the Preface, page 7); and this not without the additional «protagonist of no secondary importance… nature with its noises, its colors, its scents» (Ibid., page 8).
You can see the pen of someone accustomed to short stories and theatrical plays also in this one, which I would define as a coming-of-age novel, whose short and effective chapters, not numbered, follow one another in a compelling way, to make us gradually perceive, so to speak directly, the various aspects of what the title of the book calls, precisely, Lara's instinct. It is, in many respects, the same instinct of her mother Mélanie, who found herself acting as the wife of an unlikely «peacock», her husband, who, despite her presence, was capable of swelling «next to that unlikely companion who was only slightly older than his daughter» (page 54). An instinct that soon leads Lara to be terrified of her father (compare pages 62 and 63), also because he, with his ways and his repeated and shameless betrayals with his “kitten” (page 49), was causing, as we read verbatim, everything to collapse (both relationships and feelings, both passions and hobbies that were not his); all this given the fact, immediately evident, that «his marriage was falling apart» (page 48).
The father lives alone, even though he is with his wife, her friend, and his daughter; he is a construction magnate (compare page 115), who can even have non-scheduled flights, but cannot fly higher than his own genitals; but above all, he appears to be taken by his hobbies, as long as they are always lucrative, such as the sparkling wine production of his wine products, which he is promoting even in Japan, that is, "in a country that only in modern times is beginning to open up to the Western culture of wine consumption" (page 115). The short narrative chapters occasionally feature parts printed in italics: they are almost the commentary of a chorus of the ancient Greek theater, in the sense that, periodically, the Author carves out her own spaces: in these lines of writing, she presents her observations on the facts, on the climate, on the environment, on the events, on the souls, on the emotions...; above all, she does so in those lines in which the narrated events give the sense of the few moments - ephemeral!, just as she opens and closes the chapter on pages 37 to 39 - in which some glimmer of happiness seems to make its way on the horizon. Among others, the italicized part of pages 60 to 65, tells, in counterpoint, the real "terror" that Lara has of her father, also because he does not share what he considers, textually, «that stupid activity of ballet» (page 61); this is a characteristic repeated in another passage in italics, where Lara «little by little, towards her father… a real terror had taken shape» (page 63)The world of people and environments evoked by these pages does not belong to the plebs, but to the upper middle class involved in international business and transactions, particularly in the production of the wine industry; we are talking about the Castaldi family of Lomellina, whose exponent - and father of Lara - is, in fact, Filippo Castaldi of Lomellina: a man with a strong weakness for carnal sensuality that, in the plot, leads him to introduce his lover at his wife's birthday party, or even to have her live in the house together with his daughter Lara, in the years in which his wife, following a fall from a horse - which happened after the terrible moment of his betrayal, when she discovers that her husband does not disdain public sentimentality with his lover.
By now Lara's mother, despite her very vivid imagination, lives elsewhere in a neurovegetative state. Slave, like a teenager, to the feminine charm of an escort, as when the narration in italics observes that Lara «saw her father Filippo who… accompanied a young woman to the car and like a teenager spent himself in effusions, promising to join her as soon as possible» (page 65). A «vain to the end» (page 152), as the now mature and married Lara will sentence (whose heart a young man finally steals: page 85), in front of her father's tomb, «in the Monumental Cemetery of Milan, where he had been buried after being cremated» (page 152). Even though she belongs to this world, also made up of waiters, housekeepers, business trips throughout Europe or Japan, Lara is a person apart: «she didn't like those parties or even those people... she hated the lack of genuineness of the guests» (page 13). She loves dance, first the European one (where she will be the prima ballerina in the role of Odette in the famous ballet Swan Lake: see page 77); and then the Japanese one (in the traditional dance Nihon Buyo: page 98), during which she will suffer a serious fall, which knocks her down for a while but does not tame her. Lara is more of a mother's daughter than a father's, in the sense that her mother Mélanie, who in turn was the daughter of parents both belonging to noble families, had instilled in Lara a sympathy for different worlds, not shared by the more pragmatic Filippo: «If for Mélanie music was the essence of life, for her daughter dance was life». Furthermore, mother Mélanie - she recalls a page in italics - «sweet and kind like her daughter, had immediately bonded with that little dog» (page 62), Lara's little dog, also badly destroyed by the pragmatic Filippo. Lara shows that she has understood his personal structure: in addition to being a traitor to his wife, Filippo almost has the vocation «to ruin everything as always!» (page 79), even if her daughter loves him and would hope - in vain - to see him in the front row watching her dance (compare page 82). But perhaps the not apparent merit of the book and of Lara's instinct, well rendered by the colorful cover, which appropriately evokes Paris and Tokyo, is that of describing interpersonal relationships: those that are of blood and that are often interrupted by temperaments and characters; those that arise from interpersonal frequentation and that often fray in the same marital relationship; as happens on the evening of her birthday party to Filippo's wife who, not even imagining that the décolleté given to her by her husband Filippo was identical to the one the cheater had also given to his lover Rosemary, sees the relationship that she would have liked to rebuild as a fairytale relationship crumble (see page 52). A relationship that soon dissolves, like the semifreddo prepared as the final dessert of the birthday party, which, the Author writes with shared irony, "was melting together with the last lit candles, and that image of decay was perfect for the situation" (page 59). Relationships are more in memories - in moments fished out of memory than in harsh reality. For example, in the memory of little Lara, when she spent a holiday in the mountains as a child (compare pages 74 to 75); or when the protagonist, her experience in Japan having ended with a fall and fractures, desires «now more than ever, to breathe the air of home, to nourish herself with the most beautiful memories and to fight to rebuild a shred of normality» (page 133), perhaps with woodland or plant therapy, or even with hippotherapy: «Riding fast would have alleviated that sense of oppression and anguish for the future» (page 93). But above all, as happens in the chapter that bears the same name as the book (pages 142 to 150), before the Epilogue, when «she knew she was on a motorbike with a guy she had met by chance. It wasn't her style to hang out with people she'd never seen, much less to throw herself into adventure like that, like a reckless girl" (page 149).
Pasquale Giustiniani for Books&Museum
Naples
You can see the pen of someone accustomed to short stories and theatrical plays also in this one, which I would define as a coming-of-age novel, whose short and effective chapters, not numbered, follow one another in a compelling way, to make us gradually perceive, so to speak directly, the various aspects of what the title of the book calls, precisely, Lara's instinct. It is, in many respects, the same instinct of her mother Mélanie, who found herself acting as the wife of an unlikely «peacock», her husband, who, despite her presence, was capable of swelling «next to that unlikely companion who was only slightly older than his daughter» (page 54). An instinct that soon leads Lara to be terrified of her father (compare pages 62 and 63), also because he, with his ways and his repeated and shameless betrayals with his “kitten” (page 49), was causing, as we read verbatim, everything to collapse (both relationships and feelings, both passions and hobbies that were not his); all this given the fact, immediately evident, that «his marriage was falling apart» (page 48).
The father lives alone, even though he is with his wife, her friend, and his daughter; he is a construction magnate (compare page 115), who can even have non-scheduled flights, but cannot fly higher than his own genitals; but above all, he appears to be taken by his hobbies, as long as they are always lucrative, such as the sparkling wine production of his wine products, which he is promoting even in Japan, that is, "in a country that only in modern times is beginning to open up to the Western culture of wine consumption" (page 115). The short narrative chapters occasionally feature parts printed in italics: they are almost the commentary of a chorus of the ancient Greek theater, in the sense that, periodically, the Author carves out her own spaces: in these lines of writing, she presents her observations on the facts, on the climate, on the environment, on the events, on the souls, on the emotions...; above all, she does so in those lines in which the narrated events give the sense of the few moments - ephemeral!, just as she opens and closes the chapter on pages 37 to 39 - in which some glimmer of happiness seems to make its way on the horizon. Among others, the italicized part of pages 60 to 65, tells, in counterpoint, the real "terror" that Lara has of her father, also because he does not share what he considers, textually, «that stupid activity of ballet» (page 61); this is a characteristic repeated in another passage in italics, where Lara «little by little, towards her father… a real terror had taken shape» (page 63)The world of people and environments evoked by these pages does not belong to the plebs, but to the upper middle class involved in international business and transactions, particularly in the production of the wine industry; we are talking about the Castaldi family of Lomellina, whose exponent - and father of Lara - is, in fact, Filippo Castaldi of Lomellina: a man with a strong weakness for carnal sensuality that, in the plot, leads him to introduce his lover at his wife's birthday party, or even to have her live in the house together with his daughter Lara, in the years in which his wife, following a fall from a horse - which happened after the terrible moment of his betrayal, when she discovers that her husband does not disdain public sentimentality with his lover.
By now Lara's mother, despite her very vivid imagination, lives elsewhere in a neurovegetative state. Slave, like a teenager, to the feminine charm of an escort, as when the narration in italics observes that Lara «saw her father Filippo who… accompanied a young woman to the car and like a teenager spent himself in effusions, promising to join her as soon as possible» (page 65). A «vain to the end» (page 152), as the now mature and married Lara will sentence (whose heart a young man finally steals: page 85), in front of her father's tomb, «in the Monumental Cemetery of Milan, where he had been buried after being cremated» (page 152). Even though she belongs to this world, also made up of waiters, housekeepers, business trips throughout Europe or Japan, Lara is a person apart: «she didn't like those parties or even those people... she hated the lack of genuineness of the guests» (page 13). She loves dance, first the European one (where she will be the prima ballerina in the role of Odette in the famous ballet Swan Lake: see page 77); and then the Japanese one (in the traditional dance Nihon Buyo: page 98), during which she will suffer a serious fall, which knocks her down for a while but does not tame her. Lara is more of a mother's daughter than a father's, in the sense that her mother Mélanie, who in turn was the daughter of parents both belonging to noble families, had instilled in Lara a sympathy for different worlds, not shared by the more pragmatic Filippo: «If for Mélanie music was the essence of life, for her daughter dance was life». Furthermore, mother Mélanie - she recalls a page in italics - «sweet and kind like her daughter, had immediately bonded with that little dog» (page 62), Lara's little dog, also badly destroyed by the pragmatic Filippo. Lara shows that she has understood his personal structure: in addition to being a traitor to his wife, Filippo almost has the vocation «to ruin everything as always!» (page 79), even if her daughter loves him and would hope - in vain - to see him in the front row watching her dance (compare page 82). But perhaps the not apparent merit of the book and of Lara's instinct, well rendered by the colorful cover, which appropriately evokes Paris and Tokyo, is that of describing interpersonal relationships: those that are of blood and that are often interrupted by temperaments and characters; those that arise from interpersonal frequentation and that often fray in the same marital relationship; as happens on the evening of her birthday party to Filippo's wife who, not even imagining that the décolleté given to her by her husband Filippo was identical to the one the cheater had also given to his lover Rosemary, sees the relationship that she would have liked to rebuild as a fairytale relationship crumble (see page 52). A relationship that soon dissolves, like the semifreddo prepared as the final dessert of the birthday party, which, the Author writes with shared irony, "was melting together with the last lit candles, and that image of decay was perfect for the situation" (page 59). Relationships are more in memories - in moments fished out of memory than in harsh reality. For example, in the memory of little Lara, when she spent a holiday in the mountains as a child (compare pages 74 to 75); or when the protagonist, her experience in Japan having ended with a fall and fractures, desires «now more than ever, to breathe the air of home, to nourish herself with the most beautiful memories and to fight to rebuild a shred of normality» (page 133), perhaps with woodland or plant therapy, or even with hippotherapy: «Riding fast would have alleviated that sense of oppression and anguish for the future» (page 93). But above all, as happens in the chapter that bears the same name as the book (pages 142 to 150), before the Epilogue, when «she knew she was on a motorbike with a guy she had met by chance. It wasn't her style to hang out with people she'd never seen, much less to throw herself into adventure like that, like a reckless girl" (page 149).
Pasquale Giustiniani for Books&Museum
Naples