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Chapters (47)
  1. 1. Cover Page
  2. 2. Title Page
  3. 4. Author’s Note
  4. 5. Dedication
  5. 7. Prologue
  6. 8. Part One: Umbertina 1860 - 1940
  7. 9. Chapter One
  8. 10. Chapter Two
  9. 11. Chapter Three
  10. 12. Chapter Four
  11. 13. Chapter Five
  12. 14. Chapter Six
  13. 15. Chapter Seven
  14. 16. Chapter Eight
  15. 17. Chapter Nine
  16. 18. Chapter Ten
  17. 19. Part Two: Marguerite 1927 – 1973
  18. 20. Chapter Eleven
  19. 21. Chapter Twelve
  20. 22. Chapter Thirteen
  21. 23. Chapter Fourteen
  22. 24. Chapter Fifteen
  23. 25. Chapter Sixteen
  24. 26. Chapter Seventeen
  25. 27. Chapter Eighteen
  26. 28. Chapter Nineteen
  27. 29. Chapter Twenty
  28. 30. Chapter Twenty-One
  29. 31. Chapter Twenty-Two
  30. 32. Chapter Twenty-Three
  31. 33. Part Three: Tina 1950 –
  32. 34. Chapter Twenty-Four
  33. 35. Chapter Twenty-Five
  34. 36. Chapter Twenty-Six
  35. 37. Chapter Twenty-Seven
  36. 38. Chapter Twenty-Eight
  37. 39. Chapter Twenty-Nine
  38. 40. Chapter Thirty
  39. 41. Chapter Thirty-One
  40. 42. Chapter Thirty-Two
  41. 43. Chapter Thirty-Three
  42. 44. Chapter Thirty-Four
  43. 45. Chapter Thirty-Five
  44. 46. Afterword
  45. 48. About the Author
  46. 49. About the Feminist Press
  47. 50. Also Available from the Feminist Press

“But that’s because he covers everything. He is the ultimate fascist—he imposes himself on all of us and will last forever.”

“Is he as relevant to our time, say, as Shakespeare is?”

“They are the two most universal texts—we’ll leave the classics out for the moment. Their approaches are opposite but they bring you to the same point. It’s like this: Shakespeare has this great immediacy and makes his stage everything; Dante determines what his stage is and then brings everything onto it.”

Tina felt elated with that insight. They were sitting on the front steps of the sea-god’s temple; it was the perfect hour and she was with Jason, who could understand and appreciate what she was saying. He was lounging alongside her on the steps, fondling her arm and looking alternately at her and over the plain at the temples. This is a man I would be with, she thought; he is my equal and yet he is different. “I’d like to feel what you do about him,” Jason said. “Maybe you’ll read him with me.”

“He takes at least three readings. You don’t get to the point of awe until you get beyond the level of the ‘story,’ or reading the ‘Inferno’ at the level of punishment and mere dogma. You begin to see then that the Comedy operates at the level of human choice, which is always relevant—to whatever age. Then you won’t make the mistake of reading Paolo and Francesca as the romantics did and feeling that they were unjustly punished; Francesca damned herself, just as Anna Karenina or Emma Bovary did, by going against the grain of herself. Put it this way, Jason: Hell is the materialization of a person’s choices.”

“You’re going to be a great teacher, Tina.”

He picked a buttercup from among the wild flowers and grasses growing near the steps and held it under her chin. “Let’s see if you’ll make money, too.”

She laughed and looked down at him; their eyes held and he leaned up and kissed her.

“I wish I had known you better before,” he said. “Back in the States. After all, you weren’t really Tim’s girl, so I wouldn’t have been butting in.”

“You never looked at me in the States—or at St. Gregory’s either. You were beyond us then.”

“Well, no matter, we’re here now.”

“Yes, and I’m getting hungry.”

“Come on.” He got up, reached down, and pulled her after him. They wandered among the temples until the last light had gone.