Tag Archives: commercial fiction

One Big (Almost) Happy Family: Kiss Carlo

17 Monday Jul 2017

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , ,

Review: Kiss Carlo, by Adriana Trigiani
Harper, 2017. 524 pp. $28

Nicky Castone drives a cab for the family business in South Philadelphia in 1949. But it’s not his family, exactly, for when his parents died, the Palazzinis, his Aunt Jo and Uncle Dominic, took him in and have treated him as their own ever since. His aunt, uncle, and army of cousins assume that Nicky will follow the same path they have. He’ll marry his fiancée of seven years, Peachy DePino, drive a hack as he’s always done, and live with his bride in the rambling Palazzini house on Montrose Street. He’ll father children, be a regular at church, and sit down to his Aunt Jo’s fabulous cooking every day. That’s what life’s supposed to be, and since the Second World War is over and business is good, why not?

Troop 152 observes Scout Sunday at St. Francis de Sales Church in Philadelphia, 1949 (courtesy Bernie Kelley and Bruce Andersen, via Wikimedia Commons)

Why, indeed? What Nicky hasn’t told anyone–certainly not Peachy, who’s an even straighter arrow than his kinsmen–is that he moonlights at a struggling neighborhood theater. He does everything for the Borelli Theater that anyone backstage can do–clean the floors, hold the prompt book, you name it; that’s Nicky Castone, ever helpful, ever self-effacing. But one night, an emergency forces the prompter into playing Sebastian, a lead role in Twelfth Night, opposite the director, Calla Borelli, to whom he’s attracted.

Much hinges on that fateful moment, from which point forth, our Nicky is a different man, no longer content to follow his cousins’ path, though he loves them and worships his Aunt Jo. I won’t tell you how he tries to break free or the scrapes he gets into, some of which are howlingly funny. Just a hint, though: The Carlo of the title is an ambassador from an Italian mountain village who takes ship for the United States and the Pennsylvania town once settled by the villagers. When his path crosses Nicky’s, hi-jinks ensue.

Humor is therefore the great strength of Kiss Carlo, and Trigiani lovingly re-creates this South Philly Italian clan. There’s a pair of feuding brothers who “severed ties over money, the cause of every split in every Italian family since the Etruscans,” during which “the grievances stacked up, one upon the other, like soggy layers of wedding pastries on a Venetian table. Then it got personal.” Through these observations, which pepper the narrative, and characters who never lack for a quip, Trigiani captures the postwar striving, the ambitions, the jealousies:

Jo’s simple gold wedding band remained on her hand, but Nancy [her sister-in-law] traded up. The prongs on Nancy’s modest quarter-carat diamond engagement ring were stretched to accommodate the glitzy three-and-a-half-carat upgrade. The delicate gold chain around Nancy’s neck was replaced with one as thick as a strand of pappardelle, from which dangled a new medal more miraculous than a pope’s.

The geniality and generosity Trigiani displays toward her characters and readers go far to make Kiss Carlo enjoyable, funny, and occasionally thoughtful, a paean to those who follow their star in life no matter what anyone says and risk everything to be happy. It’s a nice message and good tonic. In particular, I like how Trigiani makes Nicky (and others) suffer to get where they’re going. For the most part, there are no easy fixes here, and plenty of reversals.

Nevertheless, she rescues her characters in the end, and it feels forced, just like the sepia-toned harmony in which they bask. This is 1949, after all, and racial and ethnic tensions weren’t in hiding, not in South Philadelphia or anywhere else. Yet the Palazzini business has an African-American dispatcher, Mrs. Mooney, and not only would one ever dream of casting a slur, you get the feeling she’d be welcome in the family. Likewise, one Palazzini daughter-in-law, Elsa, is a Polish war bride (read: Jewish) who survived “by working in a hospital,” a miracle that goes unexplained. As the only member of her family to survive the Holocaust, Elsa suffers no apparent trauma, seems perfectly happy among devout Italian Catholics, yet when she announces that she wishes to attend synagogue once more, no one blows a gasket. It’s all in the family.

It’s that desire, understandable but unreal, to rescue absolutely everyone that mars Kiss Carlo for me. Maybe it works for Nicky, but when his attempt at self-liberation inspires Mrs. Mooney and Elsa to break free as well, that’s pushing it. Developing those supblots to their pleasant but dubious conclusions also makes the novel longer than it should be. As a light confection with its sober side, Kiss Carlo would have worked better than the many-layered pastry it is. The layers aren’t soggy, but they can’t bear the weight put on them.

Disclaimer: I obtained my reading copy of this book from the public library.

Fictional Essays: The Fire by Night

27 Monday Mar 2017

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , , ,

Review: The Fire by Night, by Teresa Messineo
Morrow, 2017. 306 pp. $27

If you read this book, you’ll be getting history you probably haven’t heard, about American Army nurses during World War II. You’ll see their bravery, endurance, and resourcefulness, their heroism under appalling conditions, their competence and professional dedication, the constant sexism they faced, the emotional trauma that destroyed their psyches, and the enemies who shot at them, Geneva Conventions be damned.

Army nurse washes her clothes in her helmet, Morocco, 1943 (courtesy history.army.mil)

Even when no particular crisis presents itself, Messineo re-creates the moment-to-moment tensions that afflict her two nurse protagonists:

So begins the long task of finishing the surgeries already in progress; stabilizing those just coming into the post-op tent; giving plasma, or whole blood when available; lifting the ‘heavy orthopedics’ with their colossal casts, arms and legs immobilized by a hundred pounds of plaster. The shock patients with their thready pulses; the boys with ‘battle fatigue,’ whimpering and taking cover under their cots, thinking themselves still in the field; the deaf, the maimed, and the blind, their heads carefully wrapped and bandaged, their tentative fingers reaching out in front of them, seared and melted together from clawing their way out of burning tanks.

Consequently, The Fire by Night bears witness to the unsung heroines of World War II (if not, by implication, all wars). Such a story is long overdue. And yet, despite its powerful moments, rendered so vividly that you feel as if you can’t take any more punishment, The Fire by Night feels incomplete as a novel. In fact, it’s more like a tendentious essay–or two of them, to be precise.

I say two because the protagonists’ stories hardly intersect, and if either were omitted, the plot wouldn’t change, only get shorter. Jo McMahon serves in Europe, whereas Kay Elliott is captured in the Philippines and spends years in a Japanese prisoner-of-war camp. Though each undergoes her own, somewhat different but always harrowing trials, after a while, their struggles seem like a catalog rather than a coherent narrative. Moreover, Messineo is plainly out to set the record straight, and her earnestness undermines her.

Of the two protagonists, Jo has the advantage. Abandoned at the front lines caring for a tent of six critically wounded or ill patients, she must constantly use her ingenuity to keep them, and herself, alive. I like this story better, especially its first half, when problems multiply, she keeps going by force of will, and the men she’s tending are just bodies, not individuals yet. On the other hand, Kay’s narrative, though gripping in detail–she’s captive in what’s essentially a death camp–remains a more solitary struggle. But to varying degrees, both stories suffer from the same flaw: They fall flat when the protagonists deal with men, not one of whom has any depth.

For example, take the captain whose undermanned infantry platoon holds the position where Jo’s tent happens to be. Might he insult her, demean her rank and abilities, and say that he can’t guarantee her safety? Sure. Would he throw tantrum after tantrum and shrug off the lives of the men in her tent? I doubt it. On the flip side, Kay’s husband is a flawless human, the mere sight of whom inspired her to remove her clothes–and that’s just about all we know of him. Back at the other extreme, when Kay and Jo trained Stateside, they worked with a doctor who sexually assaulted the nurses and threatened to blacklist them if they complained. Real problem? Of course. Real guy? No; he’s cardboard, and, to no surprise, his comeuppance arrives all too easily.

Male authors can and should be faulted for failing to draw their women characters as full people. But the reverse must also be true, and to call this novel “women’s fiction” would be no excuse. More importantly, to describe sexual brutalities perpetrated by cartoon men only cheapens the impact, when subtlety would serve much better. These themes deserve no less.

I also hope that Messineo (and her editor) pay closer attention next time to the words on the page; I was startled that a writer this capable should commit so many lapses. For instance, civilians and other noncombatants are interned in a prisoner-of-war camp, not interred, as the text says here, though that might also occur eventually, as it frequently does. A bomber doesn’t hone in on a target; it homes in. Finally, the redundant phrase historical fiction novel has always struck me as the mark of an amateur–and in this book, it appears in the Acknowledgments section. Yikes.

Disclaimer: I obtained my reading copy of this book from the public library.