Karen Tintori

Karen Tintori knew she'd be a writer from age twelve. As a child, she walked ten blocks to the public library, checked out as many books as she could carry between her interlocked fingers and her chin, read them quickly and returned for another stack.

Before she was 13, she'd read the entire children's section and bristled when the librarians would not permit her to borrow books from the adult section until she was of age. Patience was a lesson she'd begin to learn early--the librarians invited her, instead, to re-read the children's section.  

Is your book club reading one of Karen's books? Feel free to drop her a note to arrange a phone or Skype call to join your group's discussion. Karen loves hearing from her readers, enjoys traveling to meet them, and welcomes speaking invitations. 

NINC

Blog

Omerta' vs La Bella Figura

Here are some thought questions, as the elementary school sisters would tell
me!

This post prompts me to ask about your (everyone's) understanding of "la
bella figura."  I came to this term only fairly recently, having grown up in
a household with an American-born Italian grandmother, a bit removed from
Italy in some ways. 

Of course, my mother made sure to provide me with many examples of the
concept.  I picture her reapplying her lipstick after dinner at a
restaurant.  (I never think of doing that.)  I recall her stage whisper to
me as a child when I was upset, "Lower your voice.  The neighbors will
hear."  And the way she made me readdress an envelope to send my (Italian)
friend when I was seven.  I had spelled her surname with one 'l" instead of
two, and my mom wouldn't accept my solution of squeezing in another "l". 

"It looks like you don't know how to spell her name," she explained.

Duh.  Well, I didn't.  I was seven.

These are light-hearted examples of my understanding of "la bella figura,"
simply consistent and detailed attempts to present oneself well.  I did not
think that this concept might be applied to behavior that was aimed at
preventing family shame, which I would consider a much darker side of "la
bella figura," if the term applies at all.  So my first question is:  What
are your reactions to the use of this term for the events of this book?
Does 'la bella figura" have implications for family disgrace, or does that
extend the term too far - what is your experience?

I just finished Karen Tintori's book, also, and she is to be commended for
tackling such a difficult subject, and so personal, which clearly does not
place her family in the best light in terms of 'la bella figura" from the
perspective of our generation. 

I wonder if her family events can be better understood with the concept of
"omerta'" (which she discusses) - the code of silence around unacceptable
behavior, combined with the long-time tendency for Italians, particularly in
southern Italy, to take crime and punishment into their own hands (rather
than leaving it to the official police).

Here is the wikipedia version of omerta': 
http://en.wikipedia.org/wiki/Omerta

So, my second questions is:  Doesn't the cultural tradition of omerta' seem
a more appropriate context in which to understand the book's events?

And Karen T., maybe you can weigh in here.  Thank you.

-Karen B
.

Her question has given me much to ponder and certainly has generated a lively discussion on the lists.   Check back soon for my thoughts on this comparison, and please chime in on the Book Club page.  I'm interested in your take on this, too.

 

 

?>