Abstract
In Angelo Spina's Le lettere di Angelica: romanzo epistolare/ibrido, we encounter the same characters as in his previous novel, Il cucchiaio trafugato (2017), in which we read some of Angelica's letters to her brother, Adriano. Adriano is still in New York City, while Angelica is in their anonymous little hometown back in Italy. It is 2020 and the world is in the middle of a pandemic now, during which a solitary and isolated Angelica finds more comfort than ever in writing to Adriano: “Come ti ho già detto tante altre volte, io sono sola, posso solo pensare, sbagliare di certo, e scrivere queste lettere, sperando che tu le legga, e aspettando sempre una tua reazione, qualche tua ammonizione, sì, la preferirei a tutto questo ingombrante silenzio” (pp. 40–41). However, we never hear Adriano's voice; we do not even know if he writes back to her. Thus, Angelica's letters seem a continuous monologue. Why letters? Angelica often reminds us that Adriano does not have a cell phone or a computer. Therefore, there would be no record of phone calls, whereas letters provide documentation. For Angelica, writing letters is clearly a cathartic release, like keeping a diary. As she pours her heart out on paper, readers catch glimpses of Angelica's past and present and learn about her mixed feelings towards the world.
The world can indeed be a terrible place where heinous crimes take place. In her letters, Angelica narrates two criminal incidents. The first one happened in America a long time ago and it was witnessed by “lui” (il nonno?), while in Manhattan. As Angelica writes: “In quella parte del mondo le cose erano avvolte in ipocrisia e violenza” (p. 27). The scene recalls a Hollywood Mafia movie, in which two gangsters are waiting in a car for their victim to exit a restaurant to coldheartedly kill him: “Premettero il grilletto due volte ciascuno. Senza fretta, prima di rimettersi in macchina si volsero verso l’angolo di Sullivan e Houston Street, e lo videro. I mandanti e i sicari avevano calcolato tutto eccetto la sua presenza a quell’ora a quell’angolo” (p. 28). Unfortunately, the gangsters saw the eyewitness, who just happened to be in the wrong place at the wrong time. Although haunted by his memory, the bystander does not report the crime. Instead, he returns to Italy. As Angelica explains to Adriano: “Adesso sai perché ci sorprese quel giorno e non volle mai spiegarci perché era ritornato” (p. 29).
The second crime, defined by Angelica as “un atto atroce,” was committed in her own little hometown (p. 23). A young German woman, Grizelda Glock, was burnt alive. A horrified Angelica is trying to process this senseless act, as she explains: “Cercavo di raccogliere, tutti i dettagli possibili perché speravo che mi aiutassero a capire come fa un essere umano a entrare in un negozio per comprare il liquido, i fiammiferi o l’accendino sapendo che ogni cosa verrà usata per distruggere un altro essere umano” (p. 23). The police urged the victim's sister to come from Germany, but she was unable to help resolve the crime. Nobody knew why Grizelda was in Italy, if she had a lover or any friends, if she was affiliated with any political organizations, or why she was killed. In the end, the case remains unresolved and Grizelda's sister leaves before the funeral. As Angelica sadly notes: “Le sorelle di oggi non sono più come una volta” (p. 26). Angelica ends her letter with a reflection about fiction versus reality. As she concludes: “Alla fine della fiction alla televisione, i commissari o i poliziotti puntano il dito sul colpevole e tutto viene risolto. Qui, invece, non c’è risoluzione, l’ombra della morte non svanisce” (p. 26). Angelica's view of the world does not seem very hopeful: humans do not have a lot of agency and are victim or witness to dark acts of violence.
In contrast to these grim episodes, some of Angelica's letters feature poetical passages that include descriptions of nature and metaphors. Her solitary morning walks especially connect Angelica with mother nature, which inspires her poetic vein. We see the sunrise behind the Apennine mountains, deserted winding roads, and trees growing along the river. Angelica is especially fascinated by the sight of a weeping willow. Traditionally, a weeping willow is the symbol of fertility and life, because a planted willow branch will grow a new tree. Weeping willows are also resilient and they can grow anywhere, in the sun or in the shade. Angelica sees something mysterious in its dramatic appearance that seems to have a connection with humans. As she asks herself: “Perché in quella chioma voglio vederci qualcosa che forse appartiene solo a noi umani?” (p. 50). Like the weeping willow, human beings survive and thrive in challenging conditions, sometimes far away from their families and home country. As Angelica confirms: “Ecco perché nella forma del salice ci vedo il dramma familiare. I ramoscelli flessibili, giovani, non seguono il tragitto indicato dal fusto e dai rampolli sostanziosi. Rivolgendosi verso la terra creano la tensione e il dramma che si manifesta nel tempo e nello spazio: il salice piangente al fiume; le famiglie umane sparse sul pianeta terra” (p. 51).
Le lettere di Angelica is a short, but powerful literary work. In her letters, the past and the present often intertwine, as Angelica recounts small and big incidents. They also include precious, often nostalgic memories of Angelica's and Adriano's youth. All in all, her letters represent a variety of emotions: anger, disgust, fear, joy, and happiness. Angelica's last letter to Adriano is dated April 25, 2021. A year has elapsed since her first letter of March 20, 2020. Undoubtedly, the worldwide pandemic made it a difficult year not only for Angelica, but for all of us. However, it also gave Angelica the opportunity to remember, to reflect, and to record her thoughts and feelings. Although her letters are addressed to Adriano, they are as much intended for us, the readers, or for Angelica herself. We should not forget that Angelica is, of course, only the fictitious author of the letters, while Spina is the real author. Consequently, we can assume that Angelica's writing reflects Spina's thoughts, ideology, and world view. I enthusiastically recommend Le lettere di Angelica: Spina's novel is the perfect reading for a rainy day, when the skies weep like the weeping willow.