(Review by Deb)
This is one of Daphne du Maurier’s lesser-known works and, I would venture, one of her hardest to classify. The
novel’s Italian setting and the gothic, somewhat supernatural air might
remind readers of her famous short story, “Don’t Look Now,” but the
plot and characters couldn’t be more different. There
are extended flashbacks throughout the book and a very strong parallel
between a city’s Renaissance past and its mid-1960s present. I’ve
read most of du Maurier’s work and I really can’t find an appropriate
comparison between FALCON (published in 1965) and anything else she
wrote.
The story concerns two brothers, Fabbio, the narrator, and his older brother, Aldo. (There
is a mild twist involving Aldo fairly early in the book, which I won’t
spoil for those of you who haven’t read it. However, it is telegraphed
rather clumsily, so few will be surprised when it occurs.) Fabbio
is employed as a guide for a company that provides package tours (which
were just becoming popular at the time the book was written). Although
he performs his job with professional competence, Fabbio is a rather
muted young man, lacking the passion and gusto for living often
associated with the cliché of Italian manhood. When he is not working,
Fabbio spends much of his time remembering his
childhood during World War II in the town of Ruffano where his
beautiful mother safeguarded her family by having affairs with first a
German and later an American officer. For
many years, Fabbio has stayed away from Ruffano and its memories, but
the murder of a former family servant in Rome leads him reluctantly back
to his birthplace.
The
town of Ruffano (which is entirely the product of du Maurier’s
imagination, although it could be based on a number of cities in the
alpine areas of Italy) possesses a mountainous geography and Renaissance
architecture that make it both hauntingly beautiful and darkly ominous. Some of the books best passages are du Maurier’s descriptions of the area’s buildings and terrain. A
palace built high in the mountains dominates the town; its highest
point is a small balconied room (perhaps at one time a private chapel)
which contains a 15th century painting of Christ being tempted by Satan to leap from the balcony and fly over the city. At
one point in Ruffano’s history, a mad
Duke, known as the “Falcon,” actually jumped from the tower in an
attempt to prove his divine nature. This rather heavy foreshadowing,
coupled with the title of the book, will leave few readers guessing what
the climax of the story will involve!
Fabbio’s
brother, Aldo, a pilot during the war and a much more powerful and
vibrant presence than his younger sibling, has established himself as a
leader of the university students in Ruffano, gathering around him young
people who he leads in a sort of cult of personality. Aldo’s
brand of leadership is looked upon with concern by the town’s
authorities who have sharp memories of what happened to Italy during the
war under the leadership of another charismatic personality. With the
passion (and, some would say, the heedless self-righteousness) of the
young, those under Aldo’s direction have formed a secret society that
has been known to attack town leaders and people who have opposed their
way of seeing things, although nothing can be tied directly back to
Aldo. There is
concern about an upcoming city-wide celebration and what the secret
group might be planning to disrupt the proceedings. This forthcoming event looms large over the rest of the story.
Once back in Ruffano, Fabbio (or “Beo”—“blessed”—as his childhood nickname would have it) is reunited with his brother. Although
he is supposed to be investigating the murder of the family servant,
Fabbio is persuaded to quit his job as a tour guide and work in the
university’s library helping to catalogue some very old books. (For long stretches of the book, the murder that brought Fabbio back to Ruffano seems utterly forgotten.) The
library books, and the centuries-old documents found hidden within
their pages, will play a role in the story as the past of the mad
“Falcon” and the future of Ruffano (with Aldo as leader?) intertwine.
Aldo’s ease in manipulating his younger brother and Fabbio’s
apparent passivity in the face of that manipulation will play out over
the course of the novel especially in regards to two female characters: Signora
Butali, a married woman who Fabbio reverently regards as being
Madonna-like, but who the reader infers is having an affair with Aldo,
and Carla Raspa, a university teacher who is interested in Fabbio, who,
in turn, is repulsed by Carla’s more aggressive personality and sexual
experience.
The book has an odd subtext: Both homoerotic and homophobic at the same time. There’s
an obvious dominance-submission dynamic between Aldo and Fabbio,
starting in their youth; several flashback passages describe the rather
strange games the brothers played together—nothing of an actual sexual
nature, but with a distinct erotic element. Fabbio’s
excessively uncritical admiration for and obsession with his older
brother make it impossible for him to develop a mature relationship with
a woman. And yet, a minor gay character receives short shrift from Fabbio, who expresses disgust at the man’s orientation and lifestyle. A
most peculiar
dichotomy—and perhaps indicative of du Maurier’s (and the era’s) own
ambivalence toward the subject. It does, however, date the book badly
and make it much more of a “time capsule” than many of her other books.
Eventually,
the day of the celebration arrives. Various strands of the plot come
together and the climax, hinted at throughout the book, takes place. In
some respects, the forces of order and civility triumph, but we’re not
sure how Fabbio will eventually come to terms with what has happened. THE FLIGHT OF THE FALCON is not one of du Maurier’s more successful novels: The
foreshadowing is heavy-handed and, despite some beautifully-descriptive
passages of the Italian landscape and architecture, I would certainly
not recommend it to someone unfamiliar with her work. However,
for someone who has read a number of her better-known works (such as
REBECCA, MY COUSIN RACHEL, and THE BIRDS) and wants to read something
completely different from the same author, THE FLIGHT OF THE FALCON
would not be a bad choice, if only to show that even the most talented
writer won’t hit one out of the park every time they’re up to bat.
Alice Turner Curtis set this series of books, which took place during the Revolutionary War, in the thirteen colonies. (A Little Maid of Province Town; A Little Maid of Bunker Hill, A Little Maid of Old New York, etc.) Each of the Little Maid books is the story of an American girl during the Revolution, Miss Curtis tells us in the introduction. She goes on to say that "Children in 1778 were much like girls of today and they were fond of dolls, pets, games and little plays." I guess she wanted to assure potential readers that the books would not be too dry. There are some illustrations. The book seems to be written for girls between 6-10 although the language is more sophisticated than you might expect.
Curtis also set another series on the frontier and another during the Civil War. Altogether she seems to have published more than three dozen books.(Perhaps with some help).
I could find almost nothing about her online although some of these books are now available as ebooks.
Anyone out there remember these? I guess the American girl dolls are similar but in those days, the story was enough.
Sergio Angelini
Joe Barone
Les Blatt
Bill Crider
Scott Cupp
Martin Edwards
Curt Evans
Randy Johnson
George Kelley
Margot Kinberg
B.V. Lawson
Evan Lewis
Steve Lewis
Todd Mason
Terrie Moran
Neer
J.F. Norris
David Rachels
James Reasoner
Richard Robinson
Gerard Saylor
Michael Slind
Prashant Trikannad
