I wish it were she who wrote about me.
To gather thoughts about those years centuries away.
To justify my cowardice, my need for certainty...
I am a seeker of gold nuggets, I collect precious fragments, intersections of my life with hers, thoughts of her, sudden emotions that interrupted years of my heart's silence, years of absence.
I stretch time so as not to reach the epilogue with which I cannot make my peace

.
The protagonist and narrator, Maria, recounts her life, but above all speaks of her sister, the indecipherable Isabella, with her stark white skin, her

fine hair of an indefinite shade between brown and red, greenish eyes like the bottom of a lake

.
The sisters possess "opposite natures," yet precisely because of this their bond is profound and troubled, a perpetual pursuit wrought with unspoken words, misunderstandings, and above all, regrets.
Childhood sees them closely knit, with Maria fraught with dread over the trouble Isabella might cause—Isabella immediately revealing herself to be adventurous, reckless, and irreverent beside her elder sister, cautious, meticulous, and rational.
It is only natural that Isabella should be the first to take an interest in the movements of 1968, dragging into this political chapter a recalcitrant sister and Marco, Maria’s fiancé.
Rapidly, the roles are reversed.
The mercurial Isabella abandons the revolutionary factions to roam the world, while Maria and Marco become committed activists.Maria’s verdict on those years, so momentous in the history of our country, is merciless.

They did not fundamentally alter the course of my life.
They seem distant to me, the words hollow.
We wanted to shoehorn the world into a century-old idea.
There were no others to be found

.
Yet for Maria these are momentous years: she marries Marco, has a child, separates, and goes to live on her own.
Why, then, is it an insignificant period? The sister's absence weighs heavily, a void she cannot fully bridge through caring for her child, through work and study.
And Isabella resurfaces in a singular manner, true to her unpredictable nature.
A Turkish man arrives at Maria’s door, sent by Isabella.
Mehmet is a man,

built like a wardrobe..
dark eyes and a drooping mustache..
wearing a military overcoat of an undefinable color

.
A love affair ensues.«I spoke with him as I used to speak with you», Maria will one day say to Isabella, who has just confessed that she too had an affair with the Turk.

Except Mehmet had given himself to both of us by presenting opposite sides of himself.
With me he had pretended to be a good husband, telling me I was a strong woman..
and to her, who instead loved taking the plunge, he had offered his experiences and his adventurer’s fantasies

.
And so the Turk’s coat becomes the metaphor for the relationship between the two women: united yet distant, ever seeking one another out, yet incapable of finding a serene stability in their bond.
It takes very little to shatter a fragile equilibrium and lead the two sisters to say and do things they will regret.
Isabella returns home pregnant just as Maria is herself expecting a baby girl with Marco, with whom she has reunited.
First, Isabella, in a moment of fury toward her sister, causes a car accident that forces Maria into premature labor.
Then Maria discovers that Isabella and Marco have shared a kiss.
The outrage is such that it drives Maria to write a letter steeped in vitriol: «Stay away from me, you stink, you disgust me».
She immediately regrets what she wrote, but fails to reach Isabella, who drowns during a boat trip.

I folded Mehmet’s coat into four and slipped it into a large plastic bag, along with the old clothes...
in this anonymous room, on my table, her photographs have multiplied.
Now only she lives here; I feel dead.
It was not what I wanted

The novel addresses a relationship often left unexamined: that between siblings.
Lovers and friends are, in some way, chosen; siblings are found «already given».
Yet it is a bond that endures for a lifetime, even if from the intensity of childhood it subsequently wanes into a more distant, often deeply estranged dynamic.
«We concealed nothing from one another, at least up to a point».
These words, which the author places in Isabella's mouth, encapsulate with great precision the trajectory of a sibling relationship, just as the image of the coat, folded into a plastic bag to be discarded, symbolizes the conclusion—perhaps inevitable—of an «inheritance» of childhood.
The new family, formed with a partner, becomes paramount.

The prose is spare yet expressive, rich in poetic resonance.
The narrative plot is taut, relying more on the description of events and situations than on dialogue—as if to signify the incommunicability that hallmarks the relationships between the characters, particularly between Maria and Isabella.
Reflections are entrusted to dreams, introducing occasional yet evocative oneiric vistas.

Why read it? A magnificent novel, concise yet intricate.

The Turk's Coat