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o Here they are, a father and a daughter. The father fair, handsome, smiling; the daughter awkward, freckled, fearful. He stylish and casual, his stockings ruffled, his wig askew; she imprisoned inside a crimson bodice that highlights the wax-like pallor of her complexion. The little girl watches her father in the mirror as he bends down to adjust his white stockings over his calves. His mouth moves but the sound of his words is lost as it reaches her ears, as if the visible distance between them were only a stumbling block: they seem to be close but they are a thousand miles apart. The child watches her father's lips as they move more and more rapidly. Although she cannot hear him, she knows what he is saying: that she mu~t hasten to bid goodbye to her lady mother, that she must come down into the courtyard with him, that he is in a hurry to get into his carriage because as usual they are late. Meanwhile Raffaele Cuffa, who when he is in the hunting lodge walks with silent watchful footsteps like a fox, approaches Duke Signoretto and hands him a large wicker basket on which a white cross stands out prominently. The Duke opens the lid with a flick of his wrist, which his daughter recognises as one of his most habitual gestures, a peevish movement with which he casts to one side anything that bores him. His indolent, sensual hand plunges into the well-ironed cloth inside the basket, shivers at the icy touch of a silver crucifix, squeezes the small bag full of coins, and then slips quickly away. At a sign from him, Raffaele Cuffa hastens forward to close the basket. Now it is only a question of getting the horses to gallop full speed to Palermo. Meanwhile Marianna has rushed to her parents' bedroom, where 9 she finds her mother the Duchess lying supine between the sheets, her dress fluffed up with lace slipping off her shoulder, the fingers of her hand closed round the enamel snuff-box. The child stops for a moment, overcome by the honey-sweet scent of the snuff mingled with all the other odours that accompany her mother's awakening: attar of roses, coagulated sweat, stale urine and lozenges flavoured with orris root. Her mother presses her daughter to her with lazy tenderness. Marianna sees her lips moving, but she can't be bothered to guess at her words. She knows she is telling her not to cross the road on her own; because of her deafness she could easily be crushed under the wheels of a carriage she has not been able to hear. And then dogs: no matter whether they are large dogs or small dogs she must give them a wide berth. She knows perfectly well how their tails grow so long that they wrap themselves round people's waists like chimeras do and then, hey presto, they pierce you with their forked points and then you are dead without ever realising what has happened to you. For a moment the child fixes her gaze on her mother the Duchess's plump chin, on her beautiful mouth with its pure outline, on her soft pink cheeks, on her eyes with their look of innocence, yielding and far away. I shall never be like her, she says to herself. Never. Not even when I am dead. Her mother the Duchess continues to talk about dogs like chimeras that can become as long as serpents, that press against you with their whiskers, that bewitch you with their cunning eyes. But the child gives her a hasty kiss and runs off. Her father the Duke is already in the carriage, but instead of summoning her he is singing. She can see him puffing out his cheeks and arching his eyebrows. As soon as she puts a foot on the running-board she is seized from inside and pulled on to the seat. The carriage door is closed with a sharp bang. Peppino Cannarota whips the horses and off they go at a gallop. The child relaxes, sinks back into the padded seat and shuts her eyes. Sometimes the two senses on which she relies are so alert that they come to blows, her eyes intent on possessing every image in its entirety, and her sense of smell obstinately insisting that it can make the whole world pass through these two minute tunnels of flesh at the...

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