Marco Rafalà's "How Fires End"

Marco Rafalà is a first-generation Sicilian American novelist, musician, and writer for award-winning tabletop role-playing games. He earned his MFA in Fiction from The New School and is a cocurator of the Guerrilla Lit Reading Series in New York City. Born in Middletown, Connecticut, he now lives in Brooklyn, New York.

About How Fires End, Rafalà's debut novel:

After soldiers vacate the Sicilian hillside town of Melilli in the summer of 1943, the locals celebrate, giving thanks to their patron saint, Sebastian. Amid the revelry, all it takes is one fateful moment for the destiny of nine-year-old Salvatore Vassallo to change forever. When his twin brothers are killed playing with an unexploded mortar shell, Salvatore’s faith is destroyed. As the family unravels, and fear ignites among their neighbors that the Vassallo name is cursed, one tragedy begets another.

Desperate to escape this haunting legacy, Salvatore accepts the help of an Italian soldier with fascist ties who ushers him and his sister, Nella, into a new beginning in America. In Middletown, Connecticut, in the immigrant neighborhood known as Little Melilli, these three struggle to build new lives for themselves. But a dangerous choice to keep their secrets hidden erupts in violence decades later. When Salvatore loses his inquisitive American-born son, David, they all learn too late the price sons pay for their fathers’ wars.

Here Rafalà dreamcasts an adaptation of How Fires End:

In my dreams for a movie adaptation of How Fires End, I often ask myself what would a modern Italian neorealist film look like? Especially one that encompasses a sweeping narrative from Sicily during the tragedy of the Second World War to the despair of the post-war era all the way to the United States and the Italian American immigrant experience in the 1980s. Who could make such a film?

I can think of only one person: Italian film director and screenwriter Giuseppe Tornatore (Cinema Paradiso, Baarìa). Tornatore is a master who can hold in his mind both a romantic notion of Sicily—the beauty of the landscape, its complicated people, and ancient culture—and the harsh realities of what life was like there during and after the Second World War. He can balance the modern while bringing the perfect Italian neorealist feel to the material that I tried to capture in the novel.

In terms of casting, I never thought about that beyond believing that the late James Gandolfini would have been a perfect older Rocco for the scenes set in Middletown, Connecticut, during the 1980s, with his son portraying the younger version of that character. And, in a slight nod to Italian neorealist cinema, the roles for the children and secondary older characters, like Raphael and Pasqualino, should be cast with unknowns.

Visit Marco Rafalà's website.

--Marshal Zeringue