The cover of this book promised a "dark mystery" that would sweep me from "war-torn Italy to aristocratic 1960s London." [1970s actually!] Since, however, the characters are unpleasant, the settings are charmless, and the situations are not only unlikely but also reminiscent of twice-viewed (and better-told) Italian films, I was swept off to sleep.
In turgid prose [The words "her strange eyes" recur at least four times], the author relates the story of Alba Arbuckle, who is constantly wriggling about in Mary Quant mini-skirts and flashing her knickers (or lack of them) at local vicars and anyone else who happens to enter her orbit. One day, after a steamy session of casual love-in-the-afternoon, Alba discovers a scroll under her bed [Where else?]. It is a pastel drawing of her long-dead mother, and it is inscribed by her father [in bad Latin: "dum spiro, ti amo"-- "Amo" takes the accusative "te" in Latin.]. This plot device sends Alba on a quest to discover the secret of her past (She should have stood in bed!).
As a lover of Italy, I was hoping that the flashbacks set in a mythical town "Incantellaria" on the Amalfi Coast, would be worth persuing. I was disappointed. We have olive and cypress trees, purple wisteria, noisy cicadas--pasta with "fish sauce," even (117), and the beauteous Valentina, who, of course, wears a semitransparent dress and walks like a duck: "her feet turning outward, she held her stomach in, pushed her bottom out, and swung her hips" (112). Valentina, Alba's mother, is identified by the scent of figs, making me wonder if the author has ever stood in a grove of fig trees, which give off a strong smell that recalls uric acid.
I suppose I should have been warned by the words "old-fashioned blockbuster" in the blurb on the back of the book, but I was seduced by "the olive groves of the Amalfi coast," an enchanted setting, which, now that I think about it, is noted not for its olives but for its lemons.
Limoncello, anyone?