{"id":5934,"date":"2024-01-16T13:40:18","date_gmt":"2024-01-16T13:40:18","guid":{"rendered":"https:\/\/primolevicenter.org\/printed-matter\/?p=5934"},"modified":"2024-01-16T13:46:36","modified_gmt":"2024-01-16T13:46:36","slug":"lorenza-mazzetti-re-covered-from-the-paris-review","status":"publish","type":"post","link":"https:\/\/primolevicenter.org\/printed-matter\/lorenza-mazzetti-re-covered-from-the-paris-review\/","title":{"rendered":"Lorenza Mazzetti Re-covered: From the Paris Review"},"content":{"rendered":"
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Re-Covered: The Sky Falls<\/em> by Lorenza Mazzetti<\/h4>\n<\/header>\n
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By Lucy Scholes, The Paris Review, 2020<\/a><\/address>\n
 <\/address>\n<\/section>\n
In 1956, in a central London caf\u00e9, Lindsay Anderson, Karel Reisz, Tony Richardson, and Lorenza Mazzetti wrote a manifesto for what they termed the \u201cFree Cinema\u201d movement. Among the aims of these four young, avant-garde filmmakers was a belief in \u201cthe importance of people and the significance of the everyday.\u201d They eschewed traditional box office appeal in favor of authentic depictions of the quotidian, particularly that of the ordinary working man and woman. Mazzetti, who died this past weekend at the age of ninety-two, was then only twenty-eight years old\u2014she\u2019d recently moved to England from her native Italy, and first gotten work as a potato picker. Later that year, her second film, Together<\/em>\u2014which follows two deaf-mutes through the bomb-wrecked streets of London\u2019s East End, or as Mazzetti described it, \u201cfields of ruins overrun by children\u201d\u2014would win the Prix de Recherche at Cannes Film Festival. Her first film, K <\/em>(1954), \u201csuggested by\u201d Kafka\u2019s Metamorphosis<\/em> and made on the most shoestring of budgets while she was a student at the Slade School of Art, anticipated the Free Cinema movement, and her signature appears first on the manifesto. And yet today she\u2019s the least commemorated of the four, and her name is often little more than a footnote to the group\u2019s history.She\u2019s even less well known as an author, especially beyond the borders of her native Italy. Although her first novel, Il cielo cade<\/em> (1961)\u2014translated into English, by Marguerite Waldman, as The Sky Falls <\/em>(1962)\u2014was awarded Italy\u2019s prestigious Premio Viareggio Prize, and is still considered something of a contemporary classic there, the English translation has been out of print for years. Told from the point of view of her child narrator, Penny, the author\u2019s fictional alter-ego, it details the tragic events of Mazzetti\u2019s own childhood during the Second World War: namely the murder by the Germans of her aunt and her cousins, followed by the suicide of her distraught uncle. The Sky Falls<\/em> is ripe for rediscovery, not least because recent years have seen significant efforts to restore Mazzetti\u2019s place in the cinematic canon. It\u2019s only fitting her equally audacious literary work be celebrated as well. Mazzetti valued the same intensity of personal experience in her writing that she did in her filmmaking. Despite having been written nearly sixty years ago, Penny\u2019s voice is astonishingly fresh, urgent, and compelling.\u201cI wonder if it is right for me to love my sister Baby more than the Duce,\u201d Penny asks at the beginning of The Sky Falls<\/em>. The siblings are orphans, living with their Uncle Wilhelm, Aunt Katchen, and their cousins, Marie and Annie, in a large villa in the Tuscan countryside. Mussolini\u2019s portrait hangs on the wall of their classroom at the village school, watching over the Little Sons and Daughters of Italy, all of whom would \u201cgive, if necessary,\u201d Penny has no doubt, \u201cour blood for the cause of the Fascist Revolution.\u201d All the same, her sister remains Penny\u2019s best beloved: \u201cIf Baby is angry with me it\u2019s as though the sky were to grow dark and the sun turn black and my heart were slowing freezing up.\u201d Amongst The Sky Falls<\/em>\u2019s other achievements, it\u2019s a thoroughly convincing depiction of an all-encompassing sibling bond. Mazzetti and her own twin sister, Paola, were inseparable; they lived together in Rome at the time of Mazzetti\u2019s death.Penny and Baby\u2019s life is, by and large, an innocent idyll. They spend their days playing with their cousins and the other children from the village. Thus, early sections of the novel are reminiscent of scenes from the English-born but Italian-wed writer Iris Origo\u2019s wartime diaries, A Chill in the Air<\/em> and War in d\u2019Orcia<\/em>, as seen, of course, through the eyes of the children roaming the Origos\u2019 bucolic estate. Penny often gets into trouble, especially with her strict uncle. He\u2019s not unkind to her, and she loves him dearly\u2014\u201cTo think that I\u2019d give my life for him and he doesn\u2019t even know it!\u201d\u2014but he sets impossibly high standards for his precocious and high-spirited niece. \u201cThe grown-ups are always right and there\u2019s nothing we children can do about it: my truth and my lies aren\u2019t real,\u201d she thinks during a routine punishment for talking back. The temptation is to describe Penny as a bit of a drama queen, but her existence is steeped in the discourse of martyrdom and self-flagellation. This originates in both the Catholic Church, which holds significant sway over the neighborhood, and in the form of the Fascist propaganda being fed the children during this period. Indeed, in the excellent 2000 film adaptation of the novel, directed by Andrea and Antonio Frazzi, the extent of the children\u2019s indoctrination is emphasized by the fact that when Penny and Baby first arrive at their aunt and uncle\u2019s home\u2014Isabella Rossellini plays beautiful, kind Aunt Katchen, and Jeroen Krabb\u00e8 is handsome, cultured Uncle Wilhelm\u2014they\u2019re dressed in spotless Piccola Italiana uniforms and creepily greet their new guardians with the salute Il Duce<\/em>.Uncle Wilhelm, who is Jewish, is the only one not taken in by either religious or nationalistic rhetoric. He sits in his armchair \u201clooking depressed\u201d while the children run around him \u201croaring\u201d their patriotic responses to one of the Duce\u2019s speeches on the radio. This simply confuses Penny, but his refusal to let the family attend Mass causes her anguish. Preoccupied by fear that Uncle Wilhelm is going to hell unless she and the other children can find some way to save him, Penny dictates that they must do penance on his behalf by walking through fields of thorns. It\u2019s his absence of Fascist fervor, of course, that\u2019s the most dangerous; though Penny, and thus by extension the reader, remains oblivious to how the war is playing out beyond this tiny patch of rural Italy.Penny\u2019s confusion continues even after the Germans have arrived, commandeering quarters at the villa. The local priest warns her that Uncle Wilhelm is in grave danger. She knows something about the priest\u2019s caution is \u201codd\u201d\u2014he and her uncle are two men who don\u2019t normally have anything to do with each other\u2014yet she can\u2019t believe that the Germans, especially the general in charge who\u2019s courteous and civilized enough to regularly play chess with Uncle Wilhelm, could present a threat. Penny\u2019s view of the world is fragmentary, and her understanding incomplete. As we watch the events unfold through her unwitting, innocent eyes, we feel a mounting tension that would be impossible if the story was being told from the perspective of an adult. Penny wants to believe her uncle when he dismisses the priest\u2019s fears. \u201cMy uncle always knows the truth,\u201d she asserts. \u201cHe is Truth and Justice in person and can never be wrong.\u201d Yet at the same time, the eerie sound of the officers \u201cclicking their heels and shouting orders\u201d as they bustle about the villa during the night sets her heart thumping, and she feels \u201cdanger hovering like a gigantic monster.\u201d \u201cWhat if Uncle\u2019s truth were not true?\u201d she contemplates fearfully. \u201cWhat is the truth? I should like the truth somehow to appear in large letters in the sky.\u201dThe Sky Falls<\/em> is so much more than just a book about the horrors of the Second World War. It is as much a loving homage to the picture-perfect childhood Mazzetti\u2019s aunt and uncle provided for her and her sister before circumstances beyond their control overwhelmed them, and thus also a moving portrait of the cruel loss of childhood innocence. As Mazzetti explains in Because I\u2019m a Genius!<\/em>, the 2018 documentary about her life and work directed by Steve Della Casa and Francesco Frisari, the writer friend who helped her find the voice with which to narrate The Sky Falls<\/em> showed her, \u201cthat if I saw my childhood through the eyes of the child who had experienced it, I could write in a happy, cheerful way about it, while if I wrote as an adult, I would have spoken of revenge, anger and horror.\u201d The novel\u2019s horrifying and violent d\u00e9nouement is all the more chilling for it, especially the gruesome tableaux on the final page: Penny and Baby, their hands and dresses soaked with their uncle, aunt, and cousins\u2019 blood, crying over their dead bodies in the still-smoking ruins of the now destroyed but once majestic family villa.<\/section>\n
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Although The Sky Falls<\/em> was published as a novel, it\u2019s autobiography in all but name. Mazzetti and Paola\u2019s mother died in childbirth in 1928, after which their father handed them over to his sister and her husband to raise alongside their own two daughters. Their uncle was Robert Einstein, Albert Einstein\u2019s cousin, and Mazzetti was always convinced that the murder of Robert\u2019s family in what\u2019s since become known as the Strage di Rignano Massacre was \u201ca precise order against Einstein\u2019s relatives.\u201d How else to explain the Germans sparing both her and Paola\u2019s lives, or that of the servants and farmhands on the property, other than the fact that none of them shared the famous man\u2019s name? Believing he was the only one in danger, Robert had eventually heeded the warnings and fled to the relative safety of the local partisans. In his absence, the Germans took the rest of the family hostage. Mazzetti and Paola were close enough to hear their aunt and cousins being executed in a nearby room in the villa. Overwhelmed with guilt and grief, Robert committed suicide, leaving his adopted daughters all alone in the world.<\/p>\n

Mazzetti left Italy for London in the early fifties, where she ended up at the Slade. As she explains, both in her London Diaries<\/em> (which were published in the original Italian in 2014, and as an English edition four years later, translated by Melinda Mele) and Because I\u2019m a Genius!<\/em>, she turned up at the art school the day before term began and demanded she be allowed to enroll. \u201cI\u2019m a genius!\u201d she told Sir William Coldstream, the school\u2019s principal, convincing him to bend the rules for her. It was he who later introduced the same willful young woman to Denis Forman, then head of the British Film Institute. She had borrowed, without permission, the school film society\u2019s equipment in order to make her first feature, and brazenly told the lab that developed the film to charge it direct to the school. Sir William came up with an ingenious plan to see if Mazzetti deserved to be reported to the police for theft: he would screen K <\/em>for an audience of her fellow students, and if they applauded her efforts, he\u2019d excuse her questionable methods. Not only were her peers bowled over by her work, but Forman\u2014whom Sir William had also invited to the screening\u2014was so impressed by Mazzetti\u2019s raw talent that he immediately agreed to finance her next feature. Together<\/em> was the first publicly funded film made in the UK by a woman director.<\/p>\n

After taking Together <\/em>to Cannes in 1956, Mazzetti was on course for a brilliant career in the UK. And yet, she decided to return to Italy. Back home, she realized that she was finally ready to \u201ctell the world what I witnessed.\u201d Once she\u2019d found Penny\u2019s voice, she wrote The Sky Falls <\/em>in only twenty days. She sent it to publishers, but to no avail, until, that is, the famous neorealist screenwriter Cesare Zavattini\u2014who\u2019d greatly admired Together<\/em>\u2014took the manuscript direct to Attilio Bertolucci, the editorial director at the Garzanti publishing house. Bertolucci published the novel with an introduction by Zavattini, and submitted it for the Viareggio Prize.<\/p>\n

Mazzetti worked on a few Italian films and TV productions, but her interest in the medium was waning. She published a sequel to Il cielo cade<\/em> in 1963, Con rabbia<\/em>\u2014translated into English, by Isabel Quigly, as Rage <\/em>(1966)\u2014which picks up Penny and Baby\u2019s story after the war, in which, now adolescents, they\u2019re living in Florence. Read as a standalone work, The Sky Falls<\/em> is potent enough\u2014\u201ca brilliant tour de force<\/em>, charming and harrowing,\u201d described the Spectator<\/em>. But the \u201cflinty anger\u201d that critic Penelope Mortimer, writing in the Daily Express<\/em>, identified beneath the surface of the first book explodes to the fore in Rage<\/em>. Penny is struggling with all the usual torments of adolescence\u2014an \u201cawful age when you know everything wrong and at second hand!\u201d she wisely surmises, and one made all the more complicated for a woman in what\u2019s very much a man\u2019s world: a \u201cprisoner of my sex,\u201d the \u201cprey\u201d of rapacious men, \u201c[a]n object to chase through the dark streets, to impress with their male voices, to debase after they\u2019d fondled it, to despise after they\u2019d used it. An object to look at, to wink at, to pierce or to strip with their eyes. An object that belonged to them\u201d\u2014but she\u2019s also dealing with the trauma of her past. If The Sky Falls <\/em>is a child\u2019s dream-turned-nightmare, Rage <\/em>is more like a feverish hallucination from which Penny is unable to escape. With its intense focus on interiority, often at the expense of plot, it\u2019s admittedly less accessible than The Sky Falls<\/em>. As a portrait of a traumatized and confused adolescent, however, it\u2019s masterful. Her straightforward depiction of everyday sexual harassment will resonate particularly with contemporary readers, I\u2019m sure. Mazzetti also penned a third volume in this autobiographical series, Mi pu\u00f2 prestare la sua pistola per favore?<\/em> (1969), but it\u2019s yet to be translated into English.<\/p>\n

For a time, later in life, Mazetti wrote a weekly column for the magazine Vie Nuove<\/em>, in which she interpreted readers\u2019 dreams (with the help of a Jungian psychoanalyst), but her main interest, somewhat unexpectedly, became puppetry. She set up a children\u2019s puppet theatre at Rome\u2019s Del Satiri Theater. An article in the New York Times <\/em>in 1988 describes one of her performances, the tale of an orphaned prince and princess, who by the end of the show have \u201ccharmed a dragon, outsmarted the witch and\u2014not orphans at all\u2014found their parents.\u201d Perhaps it\u2019s not as surprising a medium as it might initially seem. In Because I\u2019m a Genius!<\/em> Mazzetti describes her own life after having been accepted at the Slade as like a \u201cfairy tale,\u201d and The Sky Falls<\/em> reads like a modern-day Grimm\u2019s tale, beauty and horror, innocence and corruption side-by-side. Mazzetti spent her entire life telling and retelling the story of her childhood, sometimes explicitly\u2014as in the series of eighty paintings she exhibited in 2010 depicting her and Paola\u2019s life at the villa with the Einsteins\u2014and sometimes more implicitly\u2014as in the world of puppetry. It\u2019s high time her work found the broader audience it deserves and The Sky Falls <\/em>took the place it merits, both among other narratives set in wartime, and those of portraits of the artist as a child. That Mazzetti won\u2019t be around to see this herself is extremely saddening. Indeed, when I wrote this column\u2014in what now turns out to have been the week before she passed away\u2014I had no idea that I was penning an obituary. I can only hope the news of her death will lead readers to discover her beautiful but chilling novel.<\/p>\n<\/section>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Re-Covered: The Sky Falls by Lorenza Mazzetti By Lucy Scholes, The Paris Review, 2020   In 1956, in a central London caf\u00e9, Lindsay Anderson, Karel Reisz, Tony Richardson, and Lorenza Mazzetti wrote…<\/p>\n","protected":false},"author":2,"featured_media":5939,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-5934","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-books"],"yoast_head":"\nLorenza Mazzetti Re-covered: From the Paris Review - Printed_Matter<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/primolevicenter.org\/printed-matter\/lorenza-mazzetti-re-covered-from-the-paris-review\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lorenza Mazzetti Re-covered: From the Paris Review - 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