THE MISSING WORD

Inspired by a heartbreaking true story, De Gregorio’s remarkably restrained novel follows the events that ripple out in the aftermath of tragedy.

The story is simple but mysterious. Shortly after Italian attorney Irina separates from her controlling Swiss husband, Mathias, he disappears with their twin 6-year-old daughters. Five days later, he kills himself, and the girls are nowhere to be found. The police are of little help, and Irina is left to try to assemble a new life for herself, always hoping the children will somehow be located. By the time the novel takes place, several years have passed, and Irina, though still grief-stricken, has fallen in love with gentle Spaniard cartoonist Luis and is surprised to find that suddenly “everything feels like a surprise and a gift.” De Gregorio constructs her brief but potent novel out of sharp fragments: There are letters from Irina to her beloved grandmother and to the marriage counselor who refused to speak to her after Mathias disappeared, Irina's matter-of-fact recollections of the events leading up to the kidnapping, and lists of things that make Irina angry (the inefficiency of the police) or happy (humpback whales and “red wine, when it’s good”). There are also sections labeled “Me About You,” in which the narrator, a writer who has become close to Irina, lets loose her own emotions about the case and her feelings about how Irina has survived. It’s a story about that “missing word” of the title, a word lacking in most languages, a word for parents who have lost children, and the narrator affirms that “losing a child is the touchstone of grief, the gold standard of pain.” The daring of the novel is that Irina is not defined simply by that loss, as she might be in a lesser one: Her life is shaped by the disappearance of the children but not destroyed by it.

A quietly devastating but somehow hopeful tale.