The past is part of us

The past can be erased, bent to our desires. We can color it or blur it. We can even pretend it doesn't exist. But it keeps knocking on our door until we decide to let it in, to make it comfortable with us. Until we agree to dialogue with it, listening without fear, without prejudice. And also without hope and futile expectations. The past is part of us. It brings to the surface our joys and our tragedies. It tells us of our efforts to be better and the inevitable defeats. It stages our triumphs and our defeats. It reminds us that even what we tried to forget belongs to us. We can only accept this reality, and once we do, we will feel lighter. More ourselves and less like impostors, whatever mistakes we have made, whatever catastrophes we have been subjected to.

This is the legacy of Sibyl von der Schulenburg's novel Napoleon's Gaze (Morellini editore, 2026, Euro 19.00, pp. 224, also e-book), a narrative in which feelings, personal stories and History with a capital "H" mix... as the natural unfolding of things .

Thus we meet Serena, a restorer in Rome in 2024, wandering through her restoration studio among bottles of pigments and wounded canvases. But Serena carries her deepest wounds in her heart. They are wounds that have never healed because the protagonist has never found the strength to care for them. They are ancient wounds that now seem destined to fester until Serena's everyday life encounters the exceptionality of a portrait of a child with piercing eyes, strangely so similar to the "lightning rays" that Manzoni attributes to Napoleon in his The Fifth of May. The portrait is enigmatic, seemingly capable of shifting expression and disturbing anyone who observes it. Serena becomes obsessed with learning more about that mysterious painting. Thus begins an investigation that intertwines art and memory, leading Serena toward mysteries greater than herself and forcing her to confront something that goes beyond the simple preservation of the past.

The trail leads to Elizabeth (Betsy) Patterson Bonaparte, the young American who in 1805 married Jérôme Bonaparte , Napoleon's younger brother, and gave birth to a son never recognized by the Emperor of the French. That child, erased from official history, his large, dark eyes staring with adult intensity now seem to reclaim his own identity, which resurfaces through that portrait, transformed into the silent guardian of a denied truth.

Between the Tuscan hills and the alleys of Rome, Serena will discover that some gazes stand the test of time, that love can leave indelible traces, and that certain stories refuse to be forgotten. They simply refuse to accept oblivion as their destiny. Along her journey, the search for the painting intertwines with her personal history and becomes a reckoning, to the point of questioning everything she thought she knew about herself. Sibyl von der Schulenburg, inspired by a true story, thus constructs a novel in which art is a living language, capable of giving voice to what history has chosen to silence. Because every portrait is, ultimately, an act of survival, a revolt against the ravages of time.