Ties is a novel about the short and long-term effect of the first grand infidelity, on a couple, on their adult children and even on the life of their cat.
As I began to read, I had a strange feeling of deja vu, or should I say deja lu, the voice of the woman who writes the letters in the opening chapters isn’t the same, but the premise of her abandonment, being left with two children, it’s as if this novel reignited elements of how I imagined Elena Ferrante’s The Days of Abandonment, which I read last summer.
I found myself back there, in the same apartment, experiencing the same circumstances, only these were not the reflections of the same woman, nor of the same writer – well no – this is a man writing these letters from a woman (Vanda) and then in a voice that rings more true, that of the man (Aldo) who abandons, who wanted to suspend the life he found himself in, in pursuit of something that claimed nothing more than pleasure from him.
In Ferrante’s devastating, gripping novel, the voice of the wife takes hold of the reader from the outset, she is calm and rational, appearing reasonable on the outside, all the while anger and rage builds inside her like a furnace. We enter the narrative in this safe space, then feel it slowly disintegrate as that raging inferno can no longer be contained and erupts, spilling hazardously into reality.
In contrast Starnone’s protagonist Vanda, through excerpts from a few of the letters she wrote Aldo, that he rereads 40 years after they were written, is angry, opinionated and doesn’t hold back from sharing any of the catastrophic thoughts that come to her, about the damage he has done and is doing to her and the children.
The narrative structure is interesting, as the story is set around the departure and return of Vanda and Aldo from a holiday at the sea. They are in their 70’s and for the week they will be away, they’ve asked their adult children, who no longer speak to each other, to feed the cat.
The three parts of the novel encompass, book one, the letters Vanda wrote when her husband left her, book two, the departure for the holiday and the return narrated by Aldo, within which he deconstructs the marriage and his part in it. The return to their apartment and the circumstance they find themselves in, evoking in him a long period of contemplation, going over events, memories and perceptions as he tries to understand how it all came to this.
I held back. In general, faced with difficult situations, I slow down; I try to avoid making the wrong moves. She, on the other hand, after a moment of bewilderment, dives headfirst into terror, fighting it with everything she’s got. She’s always behaved this way, ever since I’ve known her, and it was what she did now.
There is one scene where Aldo discovers an old photo of Vanda and it is as if he sees her for the first time, he sees something of the essence of her in youth, and now fifty years later, has a partial realisation of what he has lost, of what he has failed to see, and by doing so, has extinguished in her.
I recognised the features of that period: flimsy clothes she sewed herself, scuffed shoes with worn-out heels, no make-up on her large eyes. What I didn’t recognise on the other hand, was her youth. This, then, was what was alien to me: her youth. In those pictures Vanda radiated a glow which – I discovered – I had no recollection of, not even a spark that allowed me to say: Yes she used to be like this.
And book three, narrated by the daughter Anna, on one of the alternate days she has agreed to feed the cat, convincing her brother who she hasn’t seen since he was favoured in her Aunt’s will years ago, to meet her there.
The novel is called Ties, a translation of Lacci or laces, which has a double meaning in Italian, meaning both the cords that we use to tie shoes and the connections or bonds between people and or things, a metaphor for the ties that continue to bind despite separation, distance, change, age. There are attempts to let go, by all the characters, attempts to distance, to free themselves of the bonds that tie, but none that really succeed. In some, the attempt to separate will result in the creation of new and more numerous ties, the son Sandro moves from one relationship to another, each resulting in another child.
It’s an intriguing novel, with what I felt was a slightly bizarre and unexpected ending. The story invoked immediate comparisons with The Days of Abandonment, however the experience of reading this novel was like viewing these lives from the outside, like looking at things from a distance, provoking a more questioning response, whereas Ferrante’s novel succeeds in transporting the reader into the narrative, it’s more cathartic and slightly terrifying, as she brings you to the edge of sanity, making you sense the danger in letting that temporary instability be observed by the outside world, a situation that many women in past centuries were indeed committed to asylums for, provoked as they often were by the cool, insensitive abandonment of the patriarch.