Book I
Mentioned as part of the family or household.
I
Gian-Luca's mother, depicted as strict and emotionally distant.
I
The protagonist of the chapter, a stern and devout Italian mother, haunted by her own youthful sin, who desperately tries to force her dying daughter Olga to reveal her lover's name.
II
Teresa remains calm and authoritative, demanding a priest for Olga.
IV
Teresa, grieving and angry, repudiates her grandson Gian-Luca, blaming him and the Virgin for her daughter's death.
I
Coldly questions the baptism, declares she has done with piety, the Church, and God, and rocks the cradle mechanically.
IV
Obsessively knitting, she sharply tells Rosa to stop and continues her knitting pattern.
V
Rescues Gian-Luca from the packing case.
I
Gian-Luca's grandmother, who sits in the cash-desk knitting, is austere and aloof. She controls the money and is the object of Gian-Luca's adoration and fascination.
II
Knits and scrutinizes Gian-Luca, noting his alien features and sending him to bed.
III
Put out the light earlier; undresses with Fabio and whispers with Nonna about Olga and Gian-Luca's hair and eyes.
IV
Reveals that Olga was her little girl who died, and insists on not discussing the dead.
V
Fabio later tells her about Gian-Luca's crying, attributing it to the heat.
I
Gian-Luca's grandmother, who remains calm and emotionally detached, rejecting his advances and gifts, and sending him to bed after his tantrum.
II
Beaten in her contest with Gian-Luca, she is forced to put down her knitting to intervene in his escalating mischief.
III
Decides Gian-Luca's schooling, has seceded from the Church, no longer prays for the family, dominates Fabio.
IV
Remains calm during Signora Rocca's visit; defends her decision.
V
Gian-Luca's mother, who is ambitious for her son and struggles with the demands of motherhood and her own aspirations.
I
Gian-Luca's mother figure, who comments on his English accent and is part of the family unit.
II
Reveals the truth about Gian-Luca's father and his legal nationality, insists he has himself.
III
Teresa sits at the head of the table knitting, remarks on gaining money through customers' hunger, and blames the Italian government for the rise in pasta prices.
IV
Gian-Luca no longer loves her; she is described as gaunt and ageing.
II
Constantly busy at the cash-desk, saving money for pleasure and visiting the bank every Saturday.
III
Hosts the gathering in her back parlor and offers a quiet suggestion of Epping Forest.
I
Mentioned as having retired for the night.
II
Discourages Gian-Luca from writing poetry, advising him to focus on business.
IX
Gian-Luca's mother, who struggles to provide for him and protect him from the world's harshness.
I
Reveals the prosperity of the Casa Boselli to Fabio, showing him the accounts. She declares her duty to Gian-Luca is over and insists he must work.
II
Mentioned as having no opinion on Gian-Luca's work, causing Fabio's frustration.
III
Trains Gian-Luca in sorting paper and the art of selling, and breaks up the fight with Berta.
IV
Mentioned as someone customers look over Gian-Luca's head to address.
V
Seen as hardheaded, closefisted, fearless in business with a genius for affairs.
VII
Referenced through Gian-Luca's manners and beliefs; she taught him punctilious good manners and considers the English boorish.
III
Teresa critically surveys the Padrona, dismisses her as false and stupid, and strategizes about Gian-Luca's future.
I
Teresa is mentioned as having gone to the Capo to call on the Padrona, leaving Fabio to handle Millo alone.
II
Teresa is described as ambitious, strong-minded, and the dominating woman of affairs.
V
Knits and openly detests the Padrona, voicing her opinions at home.
Book II
Matriarchal figure involved in family dynamics.
I
Teresa is the driving force behind the Casa Boselli's expansion, launching a fresh pasta venture and overseeing every detail with sharp eyes and a gambler's instinct.
IV
Consults Gian-Luca about her macaroni factory; they share a common ground in business and prosperity.
I
Gian-Luca hangs about her shop; she feels young due to her new macaroni factory.
II
Hosts tea for Maddalena and inspects her not unkindly.
VII
Prepared the magnificent wedding breakfast at Fabio's shop.
V
The family servant, who helps care for Gian-Luca and is involved in the household dynamics.
I
Firmly resolves to save the Casa Boselli, refusing five-pound notes and accepting only silver and gold.
VI
Scolds Fabio for his cowardice and despair, fiercely determined to keep the Casa Boselli afloat by focusing on the macaroni factory.
I
Feels fierce pride and fear about Italy's entry into the war, worrying about provisions for her shop.
IX
Silent and cold, kisses Gian-Luca on the forehead as if compelled.
I
The central figure, struggling to keep her business alive; lies awake at night worrying about the macaroni factory and deals with unsatisfactory employees.
II
Struggles to balance accounts, cares for Fabio, and faces the potential loss of the Casa Boselli.
III
Drives Fabio to work and refuses to give up, but her speculations and debts are an open secret.
IV
Dismisses Fabio's fear of the raids, refusing to let him go to the Tube.
V
Now alone at the Casa Boselli, tormented by memories and thoughts of death, she defiantly speaks to the Madonna.
I
Grieving but defiant, Teresa accepts help from the clan and resists Millo's request to see her ledgers before reluctantly agreeing.
II
Accepts Millo as partner to save Casa Boselli, then weeps bitterly over surrendering her independence.
V
Recalled as part of the group whose lives revolved around food.
Book III
Gian-Luca's mother, involved in his weaning and early upbringing.
IV
Notices the change in Gian-Luca and questions Maddalena.
I
Indifferent to Gian-Luca's neglect; focused on her own business, refuses to run after him.
V
Gian-Luca's mother, whose ambition for her son's education and social standing leads to his breakdown.
V
Remains aloof and unforgiving, confesses she has only loved her daughter Olga and sees Gian-Luca as alien flesh.
I
Old Teresa is angry and silent about Gian-Luca's departure; she is forced by Millo to intervene, and later reflects bitterly on aging and the changes to the Casa Boselli.
II
Summons Gian-Luca, scolds him for idleness, but is unable to stand without help; her scorn triggers Gian-Luca's realization.
I
Confronts Maddalena over Gian-Luca's death, asserting her blood right to accompany the funeral party.
III
Confronts the Virgin Mary in church, expressing rage and grief over Gian-Luca's death; lingers by the coffin, repeating her disbelief about starvation.
