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He’s made one short film, a catalogue of clichés starring Ludovica as La Sposina, “the pretty little bride.” Everybody knows it’s no good, that Lorenzo’s 34 and unlikely ever to make a movie, but somebody’s told him Wes Anderson might hire him as his assistant director (ha-ha — not a joke an American would commit to — it’s too pathetic and too real), and he hasn’t given up hope: He’s one of those. When the novel begins, she’s already ready to go back to Rome.
There’s nothing more Brooklyn, after all, than thinking about leaving it.
The plot of the book, about Ludovica’s and Lorenzo’s infidelities, recedes, and the ending that comes before the coda veers into surrealism, putting a couple of characters in hospital beds.
It’s unsatisfying in two ways most of the novel is very satisfying.
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