HEAVEN AND EARTH

Summers in Puglia forge fraught bonds between a privileged girl from Turin and three local boys in a through-the-years saga jam-packed with events.

Bern, Nicola, and Tommaso live on the farm adjacent to Teresa's grandmother’s home, and Teresa is fascinated by the trio from the instant she spots them taking an illicit nighttime swim in her grandmother’s pool when she's 14. By the time she’s 17, she and Bern are lovers, which arouses Nicola’s and particularly Tommaso’s jealousy. Bern’s devotion to Italo Calvino’s novel The Baron in the Trees none-too-subtly flags him as given to extremes, and as the novel flashes forward to 2012, Tommaso’s drunken revelations to 32-year-old Teresa reveal that the boys’ bond was closer and weirder than she ever knew. Then we’re whisked back to 2003, when Teresa inherits her grandmother’s estate, which includes the farm where Bern, Tommaso, and some new friends—Nicola glaringly not among them—are now squatting. Still fixated on Bern, Teresa joins their commune devoted to sustainable living and guerrilla activism in defense of the environment. Incident piles on top of incident: The commune breaks up; Teresa and Bern have trouble conceiving a child and decide to get married to raise money for infertility treatments; those don’t work, so she sets Bern free by pretending she’s been unfaithful. What all this has to do with the insistently reiterated theme of Bern’s yearning for absolutes is murky—until Tommaso’s confession resumes, and readers learn what drove Bern to the act that results in his fleeing Italy. His final meeting with Teresa has touching moments, muffled by the extreme improbability of the circumstances. Grappling with material similar to Richard Powers’ masterful The Overstory (2018), Giordano gets bogged down in plot and fails to persuasively convey his characters’ ideological passions. Bern remains an enigma, as does Teresa’s devotion to him.

Some interesting ideas don’t mesh well with a whole lot of melodrama.