Naming the Goat

 

Death of a Serpent

A Sicilian Goat

Sicily, September 1866

It took us weeks to name the goat. First we argued about whether she needed a name. Couldn’t we just call out to her, “Here, goat!” or, “Here, goaty-goat!” someone asked. No one answered until Vicenzu, the middle son, the one with all the numbers in his head, settled it by saying, “Bad for the soul, not to name the animals. That’s what Father would have said.”

“Sylvia,” someone suggested. A few of us liked the sound of Sylvia, but I know a Sylvia.

“How about Crocifisa?” Renata asked. I shook my head. Who ever heard of a Crocifisa Goat? Concetta? No. Betta? Never! And so on. We argued until we got fed up with arguing. Then Renata needed to go to Sabatini’s for honey and a boy came to say his mother needed me—which meant Graziella was about to deliver—so no name for the goat that day.

One morning soon after, Carlo came running into the garden followed by the caretaker limping and fanning his hat in front of his face. “An uprising in town,” he said, coughing, while he clanged the iron gates shut.

“Too early to close the gates,” I told him. “They stay open until dusk.”

The gardener looked at the ground. He told of the disgruntled who had gathered in the piazza next to St. Benedict, the statue with the sunken eyes. These men smelled of sweat and sheep and resin from their shops, railing against crippling taxes, against conscription, against the high price of bread, against you name it.

So we closed the gates.

When Vicenzu came home that afternoon, he told us how the mob had marched to the Municipal Building, grabbed the two guards on duty, shoved them down the stairs where more angry clods waited with blades sharpened. When they were through, Vicenzu said their knives dripped with blood. Then they roped the two men to an unsuspecting mule, dragged what was left of them through the town, and dumped their bodies in the public gardens while onlookers stood silent, chewing on straws.

That night I dreamt of stuffing clothes into a basket. The more I stuffed, the more the garments multiplied, ballooned, spilled over the sides onto the floor, dripping red.

Days grew shorter. Life became almost normal again when suddenly Carlo said, “Octavia!”

We stopped, considered. “Perfect,” I said. We clapped. A clean accomplishment, it felt like lemon balm.

But after her christening, Octavia’s milk turned sour. Carlo led her into the barn. She lay down on the packed earth in a dark corner and wouldn’t come out.

Carlo said it was naming her after Nero’s wife that turned Octavia’s milk. But I say it was the dust caused by the uprising and the stuffing of clothes into a basket.

“Read to her,” I suggested.

So Renata began reading A Tale of Two Cities aloud in the garden near the entrance to the stable, her finger moving slowly underneath the words.

Soon the goat appeared at the door, sack swollen with sweet milk.

 

Serafina’s note. In the fall of 1866 there were uprisings all over the northern coast of Sicily. Life went on.

 

What’s Wrong with your Eyes?

Il Teatro Massimo per il capodanno 2008. Photo credit: lorca56 (Flickr)

Excerpt, Death of a Serpent

“And I have a plan,” Serafina said. “You sell the business to Scarpo. Buy the villa next to ours.”

Rosa opened her mouth, but Serafina continued. “Picture it, a sunny day. You sleep till noon, waking to Maria’s Brahms wafting through the window. Renata runs over with a tray of pastries for your breakfast. Vicenzu’s medicinal recipes settle your stomach. In the afternoon, you have a fitting for a new wardrobe created to your specifications by the House of Giulia while your gardens are primped by Carmela. Totò helps Tessa milk your goat. Dr. Carlo fixes your every pain. And the best of all, I promise to invent intrigue upon intrigue for us to solve. See what happens when you give Tessa a proper life?”

Rosa gestured to the door. “What’s wrong with your eyes? You haven’t seen the carts passing in and out of the gate next to your door? The carpenters? The stone masons? The gardeners?”

Serafina shook her head.

“And you, a wizard? Tessa and I move in tomorrow.”

Fishermen Brought Me Here

Christmas in Palermo. Photo credit: stefano liboni (Flickr)

from Part One, Death of a Serpent

“I walked until I came to a land that looked foreign to me. A new land, a new life. Stayed with a family near Naples. They fed me, gave me work, but something happened. Too long ago to matter. Ran away. Fishermen brought me here. I worked in Palermo, but the girls talk, you know, and Villa Rosa, well, it has a reputation. I was fifteen when I knocked on Rosa’s door.”

Shadows covered Lola’s face. She blinked several times. Her mood changed. “But you have to make your life, don’t you? You have to heave the past and move on. My good fortune to find Rosa. Bad times, these. If I can help her in any way, please let me know.”

“You can help me right now. Tell Gusti I’ll talk to her another time.”

Clutching at the Back of Her Dream

Sissi (The Empress Elisabeth of Austria). Photo: Wikipedia Commons

Excerpt from “The Contessa”

Sunday, November 4, 1866

The contessa blew her nose. “I don’t know how much you understand of high fashion.” Her smile was withering. “A man from London established one of the first houses. Worth is his name. Met through friends of my husband when he first came to Paris. He designed a wardrobe for the Queen. Sissi wore one of his gowns for her royal portrait. The court talked of nothing else. That gave him his start. But, you see, wars have changed us, especially women. Now not exclusively for the court, fashion design spreads to anyone with a title and money. Or if only money, no matter—the title will follow. Bella and I wanted to be a part of this. She was the creative force; I have the contacts.”

“Designed our gowns, didn’t she, gave our house a look.” Rosa patted her curls. Turning to Serafina she said, “Must you make so much noise when you write?”

“Scratch away, I’m used to being around all sorts of people.” The contessa lifted her beak and smiled. “As a child, Bella designed our dresses. Always sewing, unhappy at school until the nuns gave her the job of making the vestments and whatnots. Loved to sew for the priests. Had that awe of the church and its clergy. I never had it, never, but Bella did. You might say, she had a craving for such things.” Francesca brushed crumbs off her skirt. “I’m the one who knows people, and, being from a family of tailors, I know how to sew a little, but, more important, I know the language of the trade.”

Patting her lips with the napkin, Francesca examined her watch pin, rang the bell, and stood. “Bella and I knew it would be hard to plant our feet in this business, so we had this room decorated. Bella’s design, no expenses spared.” Flinging her arm upward, she said, “Hired a painter for the ceiling. Needed to have a room suitable for greeting our clients.” Her voice faded. Serafina could see the woman clutching at the back of her dream.

The Boy with Hair Like Ours

Clown. Photo credit: Brendan O (Flickr)

Excerpt from Death of a Serpent, “The Carriage to Palermo”

“Never told your papa. Away, teaching in Turin. Worked hard for us. Loved me. How could I tell him? I took the infant to Concetta. God, forgive me, so hard, oh please forgive me.”

“Nonsense, nothing to forgive. I love you, sweet Mama, forever.”

Her breath was torn. “Remember him?” she asked Serafina. “The boy with hair like ours? Concetta said the priest named him Tigro.”

“No one else knows this?”

“She kept my secret.”

“Did you tell the boy?”

Serafina heard a sound like air wheezing out of bellows. Maddalena had used up all her words.

Her image vaporized.

The carriage slowed.

“What’s that? A pounding, I hear,” Rosa said.

“Nothing. The wind.”

Giorgio’s death had been a sudden slap, what, less than six months ago. Her children needed her more than ever. Bad enough leaving them when she was called in the middle of the night to a birthing, but she must continue with midwifery. It was her specialness. Besides, she had a commitment to the town, received a stipend, and they needed the coins. If she were engaged in finding the killer of Rosa’s women, she’d be away from the little ones too much of the time, and, when home, her mind would be forever wrestling with the conundrum. Totò was five, Maria, eight. No, that was it: she could not, must not take up sleuthing.

They stopped.

She heard voices, laughter, the distant crack of a whip, an animal roar.

The madam stuck her head out the window. “Turi,” she said, “why have we stopped?”

“Barco’s circus blocks the road.”

“Not bandits?” Rosa asked.

“Not on your life.”

“Off the highway!” someone yelled. “Let the circus pass.”

Serafina asked, “Can’t the guards do something?”

“Thick, the guards,” Rosa said. “A foil for bandits.”

She squinted out the window. Dust surrounded a long line of wagons.

“Stay here.” Serafina opened the door and climbed out.

Barco was a ball of a man, short and round, clothed in the only garb she’d ever seen him wear: overalls, a tattered shirt stained with sweat, red tails, a balding top hat. He rolled over to Serafina.

“Eh, Donna Fina, haven’t seen you since you was a tike. Heard you married the apothecary. And you, a midwife, same as your mama, popping babies out like a hocus-pocus.”

They hugged. She told him about Giorgio’s death and the trouble at Villa Rosa.

“Heard about Rosa’s. The red fox, he’s in the coop, they say.” He leaned over, spat.

“Another body killed today. We go to Palermo to break the news to her parents.”

He chewed his cigar. “Might as well camp here as anywhere,” he said, pointing to the open field.

Mules towed the wagons onto the side. Jumped-up performers and animals flooded the field. A group of knife throwers crowded around a tree where they’d set up a target. Acrobats tumbled. The cook began building a fire.

As Serafina waved goodbye, a clown in white face with a tuft of carrot hair stared at her from the side of the road, the butt of a knife sticking out of his belt. She ran splayed fingers through her curls. ‘Remember the boy with hair like ours?’