By PAOLA PERONI
Last year, Antonio Greco committed suicide after attempting to kill his wife with a hammer. The doctors refused to speculate on the prognosis of his wife, hospitalized in critical condition. When we heard the news, I said I was only surprised Antonio had waited so long to try to kill Maria.
The closer they get to Wickersfield, the slower she wants to go. She’ll stay in the car and never get out, they can just keep driving, taking detour after detour until they are lost completely. With the roads torn up like this, Allison will not be to blame. We tried, she’ll say from a B&B somewhere in Canada, but it was just impossible to get there. Arrival means smiling, means forgetting all she has seen, and she isn’t yet ready to do that. She watches the once lovely scenery unscroll outside the passenger-side window: trees that look like they’ve been dipped in milk chocolate, cornfields trampled by dinosaurs. Sometimes half the road itself is missing, snapped off like a cracker and tossed aside, lying in the mud with the guardrail. The road narrows down to one lane marked off by orange cones and Jersey barriers, and cars have to negotiate with each other, managing a degree of civility Allison didn’t think possible without uniformed intervention. They pass through woods and meadows, farmhouses off in the distance, now miles from the interstate that brought them here. The flood has drained from the roads and fields and forests, no body of water glowers off in the distance, but clearly a big river has ripped its way through here, sweeping up boulders and gravel alike, tossing them behind like loose change. What must the cows have thought, when the water rose, when everything they knew was washed away?
Land sakes is what we’re always exclaiming, because land is all we’re good for, all the sakes there are or ever will be. Each of us, fifty or so strong, has left a country crowded with kin or else lorded over, every inch of the land spoken for, down to the last hop of hare or squawk of fowl.
Early that morning his telephone had begun ringing nonstop, and he found himself thanking directors, casting directors, producers, actors, and all the members of the Actors Studio. He’d seen many of his actors receive Oscar nominations, but when he heard his name among the 1974 nominees for The Godfather: Part II, Lee Strasberg was astounded. The callers told him he’d been a master actor on the set; he had blown away his own pupils (“They were wonderful, but nothing compared to you”); he’d been able to humanize and at the same time portray the horror that was Hyman Roth; he must have awed even Francis Ford Coppola.
By NANI POWER
1.
Papi say we goin on a real vacation and Milky say Vegas and me, Tippy, I say Disney and then Carlo say Nueva York but no, say Papi, we gots to go to Acapulco. I say you mean Mexico and he say sí, cabrón, like I’m a dumbass. Carlo crackin up.
By JEFF JACKSON
Part One.
A Map of Everything Swallowed
They start drinking three hours before the funeral. Tequila, mostly. A bottle and a half later, their heads are buzzing on some private wavelength. Hazy shapes slither in front of their eyes. Words sound furry in their ears.
It’s easy to forget you once had control. That you stopped making decisions for yourself. Part of that’s getting older, and I’ve gotten older—not much, but some. It’s what comes with settling down and making some sort of life and having children. And that’s something. We all know that. But then there’s the bad part of it, when you speak up just to realize that you haven’t got any say, that your words stay lodged in your mind, stuck in your throat. That they are altogether gone, like birds migrated for the winter and never come back. Worse than that, you wake up and find out that somebody else was forming your words for you all along. That was me for the longest of times. My best years that I lost when I was silent and tepid and living in the woods. I want to tell of how I got out of that forest. I want to tell about how I came to the clearing whole and intact and feeling good.
Translated by MARTHA COOLEY and ANTONIO ROMANI
— You stay here in the shade all day, said the young girl, don’t you like going in the water?
The man gave a vague nod that could have meant yes or no, but said nothing.
—Can I use tu with you?, asked the girl.
—If I’m not mistaken, you just did, the man said and smiled.
His name was Gustave Eiffel, and he built his giant French tower because it was impossible—that is what everyone said—to build something so tall. They said the tower would topple under its own weight. Or the wind would blow, the metal would bend, and the rivets would snap. The tower would plunge into the city.
A trailblazer among American women at the turn of the century, Edith Wharton set out in the newly invented “motor-car” to explore the cities and countryside of France. As the Whartons embark on three separate journeys through the country in 1906 and 1907, accompanied first by Edith’s brother, Harry Jones, and then by Henry James, Edith is enamored by the freedom that this new form of transport has given her. With a keen eye for architecture and art, and the engrossing style that would later earn her a Pulitzer Prize in fiction, Wharton writes about places that she previously “yearned for from the windows of the train.”
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Celebrating 15 Years