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Authors: Christopher Castellani

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Acknowledgments

F
OR THEIR GENEROUS
and expert feedback on early drafts, I am forever grateful to Heidi Pitlor, Antonia Fusco, Bret Anthony Johnston, Kristin Duisberg, Ladette Randoph, Mary Evans, and Margot Livesey.

Th
ank you to my editor, Kathy Pories, for giving this manuscript a chance and then making it better with her invaluable time, attention, and insight. I feel lucky to be part of the dynamic Algonquin family.

My agent, Janet Silver, is supremely wise, dedicated, savvy, and more patient with me than I could ever have hoped for.

Th
e following people have helped me in crucial ways by offering their encouragement, space, advice, and/or companionship: Eve Bridburg, dear friend and mentor; Sonya Larson, Whitney Scharer, Michelle Toth, and everyone at Grub Street, my happy and inspiring home for over a decade; Jennifer Grotz, Michael Collier, and the pure joy that is Bread Loaf; C. Dale Young, Ellen Bryant Voigt, and the faculty and students of Warren Wilson; Steve Almond, Maud Casey, Stacey D’Erasmo, Scott Heim, Michael Lowenthal, Steve McCauley, Tom Mallon, Anita Shreve, and Sebastian Stuart; Steve Buckley, Adam Lavielle, and the Diesel Café; Jenna Blum for three months at Sweet 5; Wolfgang Wesener; Rachel Careau; Elisa Piccinelli (no relation?), who corrected my very bad Italian; Jonathan Jensen and the Latchis Hotel; and my brother, Emidio Castellani, who has shown extraordinary acceptance and love.

Speaking of love: Michael Borum has it all.

All
Th
is Talk of Love

A Note from the Author

Questions for Discussion

A Note from the Author

I
n December
1995,
my parents took
me back to Italy for
the last time.
Th
ey had
grown up in Sant’Elpid
io, a small village at
the top of one
of th
e highest mountains in t
he Valle Del Salto, and
it was the return to t
his village that I mos
t eagerly anticipated.
I’d visited Sant’Elpid
io and the major Itali
an cities as a child,
but my memories were
distant and dreamlik
e. I recalled kicking a
soccer ball between t
wo olive trees to score
an imaginary goal; st
icking my hand betwee
n the stone lips of t
he
bocca della verita,
the mouth of the truth
; and sitting at my
mother’s feet over lo
ng, rambunctious feasts,
begging her to transl
ate what my relatives
were saying.

In fact,
my most enduring memories o
f Italy consisted of
my mother’s face smiling
down at me as she s
moothed my hair and re
told the stories, jokes, a
nd legends that formed
the centerpiece of
every family gatheri
ng. A few of the stor
ies, she said, would
have to wait until I
was older; some of th
e jokes wouldn’t make muc
h sense in English; but
most of what my rela
tives discussed she fait
hfully and patiently r
ecounted to me there
at the table or later i
n the night, as I fel
l asleep. In that str
ange and beautiful world
, my mother was always
my guide, my voice.

We didn’t go to Italy
to sightsee. We went
so that my mother c
ould visit the family
she’d given up to ma
rry my father, who’d
emigrated to America aft
er World War II. We w
ent so that my paren
ts could introduce me
to the “real” world
—vivid, honest, and u
nspoiled—and so th
ey could escape the har
sh and colorless “new” worl
d. We went because my m
other missed her best frien
ds, her six brothers a
nd sisters, who were
still relatively youn
g and very much alive
.

In 1995, I was a shy
young man of twenty-th
ree. I was a student
of literature with
the dream of becoming a
writer, and I was a
lso anxiously closeted. C
ompared to my parents
’ lives and the ones led
in their ancestral v
illage, my future seem
ed unchartable, unpreceden
ted.
Th
e apparent si
mplicity of Sant
’Elpidio, little more t
han a cluster of stone
houses linked to other cl
usters by one narrow an
d bumpy road, bewitched
me. Wandering through th
e village with my par
ents at my side, I t
hought, All the answe
rs are here! If only
I observed it and my
mother’s family close
ly enough, I thought, I’
d understand more full
y her nagging sadness,
and my father’s pri
de, and, somehow, my
own inexpressible longi
ngs. By seeing where
we came from, I’d fin
d out who we were.

Ni
ght after night, we f
easted. On Christmas Eve
, we ate the traditio
nal seven fishes at Zi
o Ernesto’s and playe
d cards and
tombola
lat
e into the night; for
Christmas Day we hea
ded down the street t
o visit Zio Totò, the
greatest of the joke-te
llers; we stopped into Z
ia Clara’s for her f
amous
pizza sfogliata
,
rivaled only by Zia
Carolina’s
crespelle;
in the middle of the
day we found ourselves
dancing across Zia M
addalena’s concrete bas
ement floor; and on S
aint Stephen’s Day we
gathered at the home of
Zio Nello, the oldes
t and the keeper of t
he family history. W
e were never alone. At
meals, on car rides
, on walks up and down
the village street,
my aunts and uncles s
urrounded us.
Th
ey seemed
to have one hand on
my mother at all time
s, on her shoulder o
r her lap or the smal
l of her back, as if
to keep her from leavin
g them again.

Th
is month
of feasts did show m
e who we were, both
as a family and as a
people: we loved each ot
her with abandon. Of
all the ways of expressi
ng love that Italians h
ave in their reperto
ire, the feast, with
food and stories at its
center, is among the m
ost powerful. Knowing
this, seeing it up cl
ose, made me less afr
aid of the future. No
matter what, I thought,
I was rich in love a
nd would never be poor.

Within a year of that
trip to Sant’Elpidio,
Zia Maddalena and Zi
a Clara both passed away
, and my mother vowed
never to go back to Ita
ly. She couldn’t bear
the country without t
hem, she told me, and s
o she turned her back on i
t completely.
All
Th
is
Talk of Love
is about
a woman much like her
, someone who was born i
nto the riches of fam
ily and then renounces
it. I named her Madda
lena and gave her two
lives: the one she l
eft behind in the villa
ge and the one she bui
lt with her husband a
nd children in the U
nited
States. What wou
ld happen, I wondered,
if the two lives collided?

Questions for Discussion

1. I
n what ways
does Tony’s absence continue to affect each character’s perspective and the way the characters see their role and future?

2. One reviewer called the Grasso family codependent. We generally think that codependency occurs when one person is addicted, physically or psychologically, while the other person is psychologically dependent on the first. Does this sound like any of the Grassos to you? If so, how?

3. Maddalena, Antonio, and Prima each give their own definitions of love as it relates to their hearts, minds, and souls (see pages
156
,
167
,
255
,
256
,
324
). How do these definitions reflect on them? Maddalena tells Frankie (page
255
), “When we romance, we do it with our hearts, but we love our husbands and wives with our brains; our children and our parents we love with our souls. You have to keep them all separate . . . or you get in trouble, mixing one kind of love up with another.” What does she mean?

4. Why do you think Prima is so obsessed with Allison Grey? What in Prima’s past might affect her reaction to Allison?

5. What keeps Frankie with Rhonda for most of the novel? Do you think he’s better off with Kelly Anne? Why do you think Frankie ultimately chooses to settle down with her?

6. How does Prima’s accident change her?

7. At the end of Frankie and Ryan’s party, Maddalena says, “
Th
at’s all we get? One little song?” (page
292
). How might this be a theme for the entire novel?

8. What do you think the epigraph refers to? Do you think it applies more to one character or to all the characters equally?

9. What does Italy represent to each of the characters, and how does that change by the end of the novel?

10. What about this particular immigrant family is similar to other immigrant families you’ve read about? What is different?


WOWE

Christopher Castellani is the author of two previous novels:
A Kiss from Maddalena,
which won the Massachusetts Book Award for Fiction, and
Th
e Saint of Lost
Th
ings.
He lives in Boston, where he is the artistic director of Grub Street.

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