Dental Health:

Sometime in November, a dental implant that has fallen out several times in the past two years, did it again. My dentist in Scranton had warned me it might. Privately, this was the thing I most hoped would not happen. No dental issues while in Italy, I just didn’t think I could navigate that.

By chance, a friend of mine had told me of a dentist she really liked about a week before the implant fell out. So, I texted her. “Who is this guy and how do I find him?” She gave his office a call, and was told I should come on over that afternoon. No appointment necessary.

So, implant in a baggie, I go.

A nice young woman takes my information. There’s no front desk, she squats by a coffee table while she fills out a form. It’s basic stuff like name and address and numbers of various kinds. She asks if I can wait for about a half hour, I say, sure, and she goes off.

I rifle through the reading material. It’s all interesting. I pick a copy of Sette, a weekly news magazine. It’s a good read, articles about a variety of subjects, most of it within my ability to understand.

Awhile later a young man comes out and stands in front of the coffee table. In Italian, “So, what’s up?” I don’t know who he is, but he seems to have the right to ask, so I show him the implant in a baggie and introduce myself. “Giuseppe,” he answers, and shakes my hand. “Come on back.” I follow him into a room that is combination office and examination area, all very nicely furnished and with some impressive looking dental equipment. “Have a seat.”

This little guy with the beautiful eyes and pleasant face, in a surgeon’s cap that lets a few black curls out just over his ears, wearing a lumpy lab coat over super casual clothes that are too large for him and the blue and silver sneakers, is Dottore Giuseppe. He looks about 23. From the dates on the certificates in the waiting room I find he’s forty.  I would never have guessed. His hands are remarkably graceful. Both in appearance and manner he reminds me of a physical comedian from the silent film era. He asks me several questions about health then invites me into the examination chair. A few minutes of poking around, he says we need x-rays.

I hate dental x-rays. Biting that film hurts, no matter what kind of armature they come up with to try to make it better. So, I am not happy at this moment. We go into the other room, equipped for dental work only (no office furniture) and he sits me down at a machine, tells me to hold still, and turns it on. In about fifteen seconds it takes a full scan of my teeth and sends it to his laptop. X-rays done, let’s take a look.

The implant was anchored on roots that are now breaking, so they will have to come out. “It won’t be bad, we use drugs here to make you happy. In fact, they’re so much fun, you might want to come back even without any dental work.” I’m back a couple of weeks later, a little bit dreading it in spite of Giuseppe’s upbeat promotional. I’d never had roots pulled before, but it didn’t sound like something I would enjoy.

Fontana Olmo
turn here to find Giuseppe’s studio

He’s right about the drugs, though. I think it might be what we used to call laughing gas. They strap a very modern contraption to my nose, not at all awkward or uncomfortable, and we wait. After a couple of minutes Giuseppe asks “How do you feel?” “Normal,” I reply. “Okay, we’ll wait some more,” and he stands in mock anticipation of a great event. A few minutes later, “Now?” “Drunk.” “We’re ready!” he shouts, but quietly, and his team springs into action. Some novocaine, ten minutes, and several dryly delivered witticisms later, he is stitching it up.

I come back the next week to have the stitches out, and mention that I am due for a cleaning. He looks around at his staff, says “Anyone want to do that now?” “Now? That’s not necessary.” “Why not? You’re here.” Someone volunteers, and off we go.

Then about a week ago, the area of the root extraction began to hurt a little. Last night the part of my tongue next to it started to hurt, too. It quickly became  painful to chew, and I wondered if I shouldn’t have it checked out; maybe there was an infection developing.

I stop in today about 1:30 to ask for an appointment. I describe the problem to the woman I meet on the way in, who just happens to be passing between rooms, and she tells me to wait. Giuseppe comes out and I repeat my story. He asks an assistant if he has time to check on it right away. He does. Five minutes later Giuseppe is explaining that it’s a bone spur that might work itself loose in two or three weeks, or he could pull it out instead, my choice. “Take it out.” I’m given an appointment for two hours later.

This time, while waiting I read a travel magazine. The cover story is “48 Hours in New York,” so I peruse that ridiculous notion, first. The next article is by a woman who lived with her husband and son in Topanga Canyon, Big Sur, and Trinity County in the seventies, and who has returned on a sentimental journey. I’m totally engrossed. Suddenly Giuseppe is in front of me. “I called several times. Guess you got lost in the woods. Come on back.” Novocaine (no gas, unfortunately) some poking around, some pulling, a couple of stitches, and we’re done.

After the procedure, I make another appointment to have the stitches out, the woman wishes me good day, and leaves the room. I stand there for a few bewildered moments, then follow her. “What do I owe?” She gives the Italian equivalent of pfft and says “Niente.” I can’t believe it, so I sort of repeat the question, but less strongly so it won’t seem rude. “Why would we charge you for something like that?”

I say goodbye to Giuseppe. He gives me instructions. I thank him for seeing me so quickly. His eyes grow soft and he says “Of course,” but he’s actually thanking me for thanking him.

I never thought I’d know the day when I kind of want things to go wrong with my teeth.

Epifania:

Lunch at home, and now a walk to the bar for a macchiato and a dolce.

I round the corner on Via Pecorelli, and look for the black and white cat. She’s a hefty one and meows as soon as soon as she sees me. Her son is smaller and usually runs away, but they look so much alike that it takes me a moment to know who I’m dealing with. Today, it’s the son… and he runs away.

She and I have a thing. I pet her and she purrs furiously, meows, and rubs her head on whatever she can reach, which (because she is often on top of a parked car) is, endearingly, my nose.  It’s a little embarrassing, right out on the street like that.  I keep it going for as long as I’m able.  She always looks bewildered when I move on.

In the first piazza I come to is a beautiful woman of about thirty-five, standing, waiting, with her beautiful child in a stroller. The wind dances around both. Everything glistens.

Under the archway a couple shelters with their child, stroller – rain, wind. He shakes the water from his face as I pass.

In the larger piazza the little wooden huts put up by CittaSlow are still in place. I check to see that the cheese stand and pasta stand are open. They are. I’ll stop on my way back. The crowds are gone but there are people out. Someone is selling oranges, brilliant and huge and golden, on the steps of Sant’Andrea. Four crates of them sit pondering the chill weather, so unfamiliar to their Sicilian roots. Next to them, a woman in a hood looks unhappily out across the piazza; rain is not her element, either.

Through the second arch.  I wave at someone, I don’t remember who, and turn towards good coffee and good company at Blue Bar. The bar has been open Sundays for a couple of weeks, now. Sunday is their torno, their closed day, but the holidays and the Festival  changed that. Today their blinds are snugly drawn and the sign that says “Aperto Open Ouvert” still taped to the outside of the glass, curls in the rain.

I turn around. My second choice is Bar Montanucci. Second, not because it’s less good, but because they’ll probably be overwhelmed by a lunch crowd. They are. I order a caffè macchiato. She smiles weakly. Several lunches are served. I order a dolce from the serene lady at the pastry case; lunches are easier for her. Another server notices me between meals and I’m brought an espresso. I ask for milk. She nods, harried, but the milk is poured with perfect foam and in just the right amount, and I take both coffee and dolce down several steps into the lower room.

The dolce is one of their buttery, flakey pastries that form a nest for a piece of baked fruit. The pastry that holds a half pear is in the shape of a pear.  The pastry even forms a leaf and stem. Likewise for the apple, which is thinly sliced. The peach is as plump as a sunset.

Back in the piazza, I buy pasta and cheese at the CittaSlow huts. Everyone is charming. We sigh as we contemplate today, Epifania, as the end of this season’s mercatino, but from them I detect a bit of relief, too.

Walking down Corso, not as many languages are heard, no photos are being taken, fewer families stroll their infants than yesterday, but it’s still festive. Tomorrow begins what a couple of Orvietani have referred to as la tranquillità; the period between Epiphany and March. In March, the weather begins to warm, and visitors make appearances on other than weekends. In the meantime, we rest.

I pass a little bakery where the woman anxious about the future of her business makes delicious brownies and squares and cupcakes, all from American recipes.

I pass the pen and paper shop where the goods are so beautifully displayed, I hesitate to purchase anything for fear of putting the whole store out of balance.  There’s a painted statue of a man in front of the store carrying a pile of books, his legs buckle at the knees.

I pass Teatro Mancinelli. The cafe is open, and tables and chairs and benches are arranged on the porch. It strikes me as a perfect spot for watching rain. I make a mental note.

Via delle Pertiche Prima is all lit up with Christmas in the middle of the day.  I turn onto the street and wonder who organized the neighbors to decorate so lavishly.  “Pertiche” refers to a Roman rod, a unit of measure.  The street is adorned with rods strung with lights and swags and glittery things, and they go on for at least a hundred meters.  I admire any person sufficiently possessed of charm, patience, and initiative to inspire such communal spirit.

As I walk up Passaggiata Confaloniera, I notice the valley is greener than yesterday, and the green is intense. I bend down to examine a fallen twig. It holds six tiny green buds.

Medieval Jazz:

I can’t let the weekend pass without writing about Umbria Jazz Winter.

This is the event that gets Orvieto through to spring, economically. I was on my way back from my second concert, when I stopped by the alimentaria my friends Vera and Giovanni own to wish them a happy new year. The crowds were formidable, but not quite up to snuff as far as Vera was concerned. She asked about attendance.  When I told her well-attended but not quite full, she twisted her hands and hoped things would pick up over the weekend.

They did.

The group I heard that night was Light of Love Gospel Singers from Chicago. They’re a powerful

bunch and create gorgeous music. They had a concert-combo-mass planned for New Year’s at the Duomo. My friend Claudia wanted to see that, and I did, too.  We agreed to meet across from the Duomo fifteen minutes before the announced starting time. Yeah, right

At about 4:20, Claudia calls. She’s driven in from Monterubiaglio and the garage at ex-Campo della Fiera is closed, full up. So she drove around to the railway station that has a huge lot behind it, and found a space. But the station for the funicular that brings you up into town, was mobbed; no way she was going to make it up in time.

When I arrived at the Duomo, the entry line stretched around to the north door.  It that doesn’t mean anything to you, just picture really, really long. The line moved rather quickly.  I pictured seats gradually filling up inside, and hoped for the best. A few minutes later I entered the cathedral. Most of Italy of was already there.  Not only were there no seats left, there were barely places left to stand.

I was fortunate and found a spot along the north wall where I could lean. Somewhere way in the distance a mass began. I caught a glimpse of a bishop in full regalia between two columns (just to the left of the ubiquitous shark balloon in the photo.) After awhile there was singing.  It was nice. In the meantime, about 50 people a minute were still arriving while 30 people a minute filtered out. I stayed for an hour before I had to leave for the next concert. It was a odd experience, but I couldn’t help but think that this kind of crowd was what the Duomo was built for.

Last evening’s concert was Jarrod Lawson & the Good People. The fellow who introduced them said they were very young. I’d seen a photo of Jarrod and knew this didn’t mean pre-teen, but wasn’t quite prepared for how young they are. Six musicians in their early twenties, remarkably talented, loads of class, incredible poise. They have another concert this evening that starts just about the time I usually go to sleep, but I’m going. I don’t care if it’s identical.

UPDATE –

Romero Lubambo.  All you need to know. He’s Brazilian, a guitarist, and takes that instrument to places I didn’t know if could go. If you ever have the chance to hear him, do not pass it up.

FURTHER UPDATE —

Funk Off.   A marching jazz band.  Kind of a big band sound, but funky.  They do coordinated movement and marching band figures, all kind of funky.  I don’t suppose they’ll be coming to your neighborhood, soon, but if they do…