The Year of Shocks and Hope - an Editorial Review of "Magari 68"

Book Blurb:

The 1960's ushered in changes all over the world. 1968, in particular, was a year of shocks, but also of hope. The youth believed they could change the world for the better. End the war in Vietnam, improve the lives of workers, minorities, and women. In the middle of the upheaval are Dorie, an American girl, Renzo, an Italian law student, and Olivia, a German girl.

Book Buy Link: https://geni.us/MyP8i

Editorial Review:

“You had to feed the slot to make the elevator work. As often happened, when Dorie fished around among the coins in her change purse, she didn’t have a ten-lire coin and was afraid she’d have to walk up all eight flights again. Tonight, though, there was someone in the elevator, the slot had been fed, and she could ride for free. She smiled as an old woman waved her in.

“Grazie, signora. Buona sera.”

“Prego. Buona sera, buona sera.”

When she opened the apartment door, the smell told her the family had already eaten, which was usual. Signora Leone got home from work at four o’clock and, by the time Dorie arrived, around seven-thirty, Signora and her two sons would be watching television, leaving the kitchen to her tenants. Among the tenants, though, it was mostly just Gina and Dorie who cooked. The two Italian students ate at the mensa, the university dining hall, and Youssef rarely used the stove except for his thick, sugary Egyptian coffee, living on mostly bread, fruit, and cheese.”

Dorie (from the United States of America), Renzo (Italy) and Olivia (Germany) are the vividly drawn main characters of “Magari 68” by Susan Berry Eberhardt. It’s the 60s, and they are principally in Rome, Italy. But even there, even then, there is turbulence and social upheaval. Conflict in Vietnam looms large; there is loss, the age-old push-pull of relationships and the heady sense of anything being possible (or impossible) all at once. Remember also that World War Two wasn’t all that long ago.

Times were different (in both good and bad ways), and the nostalgia of the author’s writing style is palpable. Olivia and Dorie introduce their respective mothers to the other; the older women find common ground in musing over the difficulties of raising a daughter in the modern world. Dorie’s parents are separated, and the circumstance does not sound quite as widespread in that modern world as in this one. The references to culture and religion are also authentic for the times, impacting on friendships, relationships and decision-making. The references to childhood and families underscore the essential deep rooted differences between each character. This is Vietnam, academia and civil rights seen through the lens of Europe, and Dorie is torn between the concerns of her homeland and the new life she is exploring.

““Are you sure you want to do this, Youssef? I’m not afraid to go alone.”

“Yes, I want to see it. I’ve never seen a Christian service before. But so late at night—why?”

“It’s a tradition. Midnight Mass. It’s sort of— It feels sort of mystical. I don’t know how it will be for you, if you don’t understand what’s going on, but the music should be nice.”

They walked along the cold Roman street, Dorie’s heels clicking on the cobblestones. Other people were headed in the same direction, converging on the old church as they had for centuries. It was not a famous church and Dorie couldn’t tell how old it was. It could have been built in the Renaissance or only one hundred years ago, in imitation of that style. The stones looked ancient, though, and the marble floor was worn by the traffic of many feet. Dorie had gone to confession the day before, to an English-speaking priest at St. Peter’s, with great difficulty telling him about the French kissing and the touching. But he hadn’t said anything about that. Instead, he had scolded her for waiting six months to come to confession.”

The Italian language is seamlessly included in the storyline, and Dorie’s determination to learn and use the language is highly relatable. The coming of age aspect of this storyline is powerfully portrayed, both individually and against the background of national and international social change. The pacing of “Magari 68” draws the reader along, and although there is some backstory, this is woven into the overall narrative and adds important detail.

““Here, you see what one man can have when millions have nothing? It is still like this. It is not right that a few get rich from the hard work of many.” Over damp grass they trudged from wonder to wonder: the villa was as large as a town, with even a heated beach and underground passages big enough for a horse and cart. Besides his palace, baths and Roman temples, Hadrian had ordered reproductions of famous buildings he had seen on his travels around the world: a Greek peristyle surrounding an enormous fish pond, the Temple of Serapis next to a canal, which was supposed to be the Nile, Plato’s Academy, complete with olive grove, an Odeon, a Temple of Apollo, and even an underground Hades. In one corner he had built another palace on an island in the middle of a lagoon. The man who ruled the world wanted the whole thing within his reach. It was the largest villa ever built.”

“Magari 68” by Susan Berry Eberhardt is an immersive trip down memory lane for all those who lived the 60s, recalling the headiness of life in Europe as a young adult, with relationships, friendships, experiences all there for the taking. Just as with life, this coming-of-age story shows the good and the bad, not shying away from the turmoil of the times. The authentic characterizations and well-crafted dialogue make this a standout read for those who enjoy delving into human nature and social change. Warning: contains references to cigarettes and French kissing (and more!).

*****

“Magari 68” by Susan Berry Eberhardt receives 4 ½ stars from The Historical Fiction Company

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