More of Signorina Servadio's sophisticated pothooks albeit in still more inchoately plotted form than Melinda (1968), since Salome entails ""notes for a novel"" and Don Giovanni ""notes for a revised opera."" The first part deals with the ideas, lists of names, table accessories, etc., etc. plus the referrals in Salome's notes for her book all of which are read peckishly by her husband who is of course particularly interested in the identity of her hero (even if she goes to bed with everyone ""out of insecurity, like all women""). His comments are in counterpoint to her commentary. . . . Don Giovanni, a far better structured affair, revives him as a contemporary industrialist rotating from Merlinas to Zerlinas to Annas and Elviras (she's the tearful one he fobs off at a masked ball on his majordomo). Along with lots of sight gags (advertisements, etc.) there are some occasional funny lines all within this writer's special demesne of madcap capriciousness.