Trash Talk:

This is a subject I’ve been wanting to approach since I began this blog, but I resist, telling myself that it isn’t that interesting or that I don’t know enough about it. Okay, outsider eyes find it very interesting, and it’s about what I do know, not everything there is to know. Therefore…

I’m going to talk trash.

Rifiuti4Last May, the nation-wide transition had already begun. Instead of trundling your recyclables to the ugly, dirty, domed containers that squatted in parking lots, you put a sack of a specific type of trash at your street door and a guy in a small hopper-truck came around the next morning and picked it up. My stay was short and I didn’t generate much trash, so details escaped me, but I knew it was a new sun dawning on the refuse horizon.

When I returned in October, either the system had been expanded and refined, or I had become a more active producer of garbage (many friends would suggest I started down that path years ago) for the system was more nuanced than I remembered. Every night, Sunday through Friday, we put a sack of something specific to the left of the front gate. Organic was three times a week (in bio-degradable and compostable bags,) glass and plastic once, paper once, and undifferentiated (that which cannot yet be recycled) once. You had to keep in mind what went out when, and that took getting used to, but it was a tidy system.

Then shortly after the first of this year, a small, brownish, perforated plastic box appeared next to my front door. At first, I Rifiuti3speculated a late Christmas present (“late” was an American interpretation; it was before Epiphany and therefore would have been perfectly legal) but as I continued to the ground floor, I noticed that everyone had received these boxes. When I returned home, I took mine inside to investigate.

Included in the box was a year’s supply of compostable plastic bags and three colorful brochures detailing the intricacies of trash separation. A calendar for “Orvieto Nord” specifies what picks up on which days, when holiday service kicks in and what that means, and shows a schedule for domestic trash on one side and commercial on the other. There was a two-fold summarizing what goes into each genre of pick up and how to “prepare” it for the guy with the truck. There was a booklet indexing every conceivable throw-away and exactly what you’re allowed to do with it. The box itself was for personal collection of organics.

Rifiuti1Because we are a palazzo with six apartments, we were given five, specifically sized and designed, color-coded and clearly labeled bins for the sorting of our refuse. The categories now are organic (in compostable bags,) plastic and metal (which is a clever combo, because we can include things like pharmaceutical blister packs,) glass, undifferentiated, and paper and cardboard. The bins live downstairs in the garage, and we wheel them out on the appropriate night as someone in the building remembers to do so.

For smaller buildings, each household was given a set of little color-coded bins that go out on the same schedule. Walk around in the evening, and the streets are dotted with these spunky creatures. While they don’t fit the medieval/renaissance townscape, they are a lot less unsightly than old collection domes. Some of us find them rather cute.Rifiuti2

Since all this occurred, my curiosity about disposability in general has increased. So, I checked the plastic bags I receive through the week, and 90% of them are compostable. I asked at the market what to do with juice containers. The guy referred me to the label, most of which now have instructions on proper disposal according to category. This is much more specific than “please recycle.” It means “put this in the right bin or risk fines.”

I’m sure there are valid questions about what is done with all this meticulously collected trash. Are the contractors engaged to process it doing the job, or will the stuff be dumped into a swamp somewhere? How is Italy’s tenacious history of kick-back and bribery affecting all this? Is the elaborate and beautifully designed collection process merely the latest example of an Italian genius for elaborate and beautiful design, that once put into place will suffer from neglect and gradually grow ineffective?

Those are questions too great for this outsider, and the answers can only be known in time. What Italy is doing looks like a solid beginning, and one worth emulating in other places; especially by those entities who take pride in organizational skill and procedural elegance, but whose environmental programs are soaked with politics.

Besides, we’re past the point of having other options. Either we stop pretending that “disposable” means we can throw it away without further thought, or we stop producing stuff we call disposable that isn’t. Or a mix of both. (I find it curious, and disturbing, that my spellcheck doesn’t even recognize the word, indisposable. If it’s not a word, I now invent it.)

Think about the environmental crisis for a moment. Eventually, all solutions boil down to careful use of resources and intelligent disposal of waste. A well-considered effort to address issues of disposal, even if it may have its flaws, is leagues ahead of a half-hearted one where the central tenets are to be affordable to business and convenient for the consumer.

We’ve kicked the trash can down the road for a couple of generations now, it’s time to grow up. At the very least, Italy (and the EU) are taking steps.

The Connecting Points:

There were two groceries in Sunnyvale when I was very young; The Red Rooster and The Airbase Market. The latter was named after Moffatt Field Naval Air Station where once, years before I was born, the USS Macon was housed, a dirigible airship of gigantic proportions. The hangar built especially for the airship survived into my childhood. It is still there, pointlessly huge, but an icon.

My father took me to see it when I was about ten. It’s a cathedral of steel, lofty, empty, awesome. He told me that the Macon fit into its hangar with only a few yards on all sides to spare. My imagination soared. He told me that for the airship’s first arrival they asked for volunteers to help dock it as kind of a publicity stunt, so on that day only, he became part of the landing crew. He told me that as the ship came in, it hit an updraft so had to momentarily ascend, and it took a few fellows up with it because they didn’t know to loosen their lines. Then he gave me that look that usually meant he was making stuff up, but I never knew for sure if he was.

The Macon went down in a sudden storm off the coast of California in 1935, but she lived on in the logo of the Airbase Market.

The Red Roster was a chain. They had stores in Santa Clara, Mountain View, and Sunnyvale. The scope of this vast enterprise dazzled my young mind. How could anyone organize such a complex operation and continue to maintain friendly and excellent service?  I was also a little miffed that the beloved Red Rooster was not exclusively ours.  The management gave away juice glasses with the store’s logo – a red rooster, of course. They were kid-sized, and I loved them as much as the store. Most everyone you visited in town had at least one of their glasses. I still own a few.

When my mother shopped at either of these markets, the checkout clerks were people she had known for years. She was able to trade stories, local news, and family information. The checkout was one of the still-vital connecting points for a community that had begun to feel the effects of modernization.  Habits such as strolling main street, Murphy Avenue, were waining.  The new habit was to drive everywhere, even if your trip were only a block or two. The friendly markets continued as bastions of the connecting point and to hold the key to the town’s heart.

Then in the late fifties the downtown was “redeveloped.” A great to-do was made of this. The hoopla included a ground-breaking ceremony for which a select group of elder citizens was asked to sit on the speakers’ platform, my father’s mother among them.  My grandmother, who grew up near Dubrovnik, had lived in Sunnyvale for fifty years by that point and spent the ceremony grousing to her neighbors, without relief. “What a stupid idea, the town is already developed. There’s no need for this.” But as she had been awarded a gift certificate for groceries as a bribe, there she sat in her widow’s black, frowning, complaining, hands curling protectively around her purse.

The newly build “Sunnyvale Plaza” included two supermarkets, strangely located across the street from one another; a Lucky Store, and a Purity. Each was a architectural oddity designed to function as an instantly recognizable brand. One was clad in yellow tile and featured a kind of suspension bridge tower over its front door (Lucky’s) while Purity resembled a gigantic Quonset hut. Neither was particularly inviting, but they had generous parking lots.  The supermarkets soon dominated.

The era of the supermarket ushered out the era of the connecting point, or nearly so. I remember my mother as never having had the least bit of trouble making and engaging in conversation at either of the old markets. It was a running dialog, you just picked up wherever you had left off on Tuesday. At Lucky’s (she preferred it to Purity… between the two, the town divided itself more rigorously than it would have in a religious schism) the checkout clerks seldom lasted more than a few months. They thus had no particular interest in forming relationships with customers. Eventually, company policy required them to chitchat, but little useful information was ever exchanged.

Occasionally, a clerk would settle in and remain long enough to become acquainted. I recall my mother surveilling the checkers to see if one of the “old timers” was working, and she would always choose that line if there was, regardless of its length. When there were none, she would steel herself to make conversation. “I just feel we ought to be saying something to each other. So, I talk. If they don’t like it, they don’t have to say anything back.”

This act of courage was thrilling to me until I was about twelve, after which I viewed it increasingly as an embarrassment. When the shopping list was short enough to fulfill and carry by hand, I offered to walk to town by myself so I could practice the more modern skill of silently passing through the checkout line. I became pretty good at it, too.  But when I returned home, my mother would quiz me about my checkout experience; who I talked to, what I found out.  Then, if I wanted to avoid a lecture on how important it was to connect to people, even to strangers during checkout at the supermarket, I had to make stuff up.

Just now, I strolled to San Giovenale to watch the sun set. It was five o’clock, and the church’s bells rang for several minutes. They have been rung at that time everyday for almost a thousand years, allowing for wars and such. While they were clanging my mind into a restful calm, way in the distance were five airliners approaching and departing the airport at Fiumicino near Rome. They left five evanescent trails of vapor in the deep blue sky.

I recently discovered a panificio (bakery) I like very much. It’s manned by two young Filipino men and an Italian woman of perhaps thirty. Both men are friendly, but one is so kind that being greeted by him is like coming into the company of a saint. The woman is as warm as a loaf of fresh bread. The second time I shopped, they remembered what I had ordered the first time. On my third visit, biographical information was exchanged. Now they remember not only my preferences, but sense when I want something new and help me through the process of choosing it. They also assist me with the language. I am an unremarkable one of a constant flow of customers.

Serving the public here is regarded as a skill acquired over years of observation, participation, and practice. It’s a respected and acknowledged ability. Not everyone has it. Not everyone can develop it. If you can’t, you try to find a job that doesn’t require it. Each who has it exercises the skill in his or her own fashion, and the range of style is as broad as the human personality.

The world has gone on in this way since the first goat was exchanged for a sack of grain, if not before.

The culture in Orvieto acknowledges that retail service can be the basis of a respectable career, and that the connecting points it fosters are as precious a heritage as an ancient church or piazza. What that says to this American outsider is no matter how detailed a company manual or imposing the management style, mandated chitchat and niceness doesn’t replace the real thing. Nor is it as meaningful, or as much fun.

I met three college students from Alabama the other day. Charming folk, they were good at making conversation, especially the young woman. Even she expressed relief, however, in finally meeting an American after an hour or more of mimed interaction with Italians. Foreign travel is also an acquired skill, you see, and although they were ostensibly here for art and culture, learning to travel was their real purpose.

“Our teacher has been doing these trips with students for thirty years. He always comes to Orvieto, and they remember what he likes to drink, his favorite things to eat, and even where he likes to sit! It’s amazing!

I’m glad they appreciate that. It is amazing, and I hope that someday they understand how tip-of-the-iceberg their teacher’s welcome here is. It will blow their minds, in a good way. And minds having been blown, perhaps they’ll find and develop connecting points in their own communities, and the torch still carried by Orvieto – and communities like it, everywhere – will continue to be passed.

Of Cats and Dogs and Shaving Cream:

I bought Lucianna and her daughter Sofia a gift for Christmas about a month ago, have seen her a couple of times since, but have either forgotten it when we’ve met, or didn’t have it with me when I’ve run into her. Finally, today between a meeting she had and needing to go down to Scalo for laptop repair (her report accompanied by gesture of gun in mouth) we were able to make plans for coffee and a gift delivery.

I went into town a little early to seek out a few items I needed. On the top of my list was cold medicine (just in case,) and flax oil capsules or “una scatola di perle di olio di seme di lino.” That sentence contains so many “di” that I always feel like I’m saying it wrong. (I might be, but no one has ever corrected me.)  Also shaving cream.

And bread and pastry. I was proud of myself on that last. I’ve been stuck on tozzetti (we might call them biscotti) as my dolce of choice for at least a month now, but today I adventurously embraced apoline, lemon cream or chocolate filled, two of each. I can hardly wait for tomorrow’s breakfast. But really, I’ve already stuck my neck out this far, why feel compelled to wait?

On the way between the panificio and Blue Bar, I passed Gianluca’s used-book store. I first stopped on a whim about six weeks ago. I was looking for a grammar that the large bookstore in town, a Mondadori, didn’t have, and neither did they offer to order it. Gianluca said he would try to locate a copy. By the time I returned home, there was an email. He would have it the following afternoon. I’ve since been stopping by whenever possible. When he’s serving a customer, there isn’t really room for another, so I wave – when it doesn’t feel intrusive.

I had been wanting a book in Italian, something I could immerse myself in that would also be a learning tool. Claudia had given me a couple of possibilities, but both are too literary, and I have to stop frequently to check word meanings or puzzle grammar. Some of that is great, but too much and I’m not reading for enjoyment, anymore, or even for sense.

A few days back, I asked Gianluca about such a book, and we scouted around his shop. I read first paragraphs as a test. When I understood one, the book became a candidate.  I asked him if he had a copy of Christ Stopped at Eboli, a favorite of mine I’d read a couple of times in English. He didn’t, but had another book by Carlo Levi. I understood the first paragraph pretty well, so I took it. As a gift, he also sent me away with a slim volume by Italo Svevo.

I settled down later that evening with both books. After the first paragraph, the Levi book gets way more difficult. While the Svevo stays at about the same level, it’s always a step or two ahead of me. True, Svevo is more direct in his language than is Levi, but with him two or three words I don’t know can scramble the sense of a whole paragraph. Levi, on the other hand, writes like there are not sufficient words in the language to satisfy his appetite for prose. Consequently, I can be ignorant of half the words in a paragraph by Levi and still get a sense of it. In the end, however, I returned (quite happily) to the weekly magazine, Sette. The language is breezy and similar to what you encounter in daily life, the articles range in topic, and I generally find them interesting.

Anyway, on my way past, I thanked Gianluca for his help and gave him a report.  He told me that for Italians, Levi is like reading another language, and since it is another language for me, I may have been operating from a point of advantage.

I walked out of the house this morning in the direction of the cat (for more on that relationship, see the post Epifania.) She was catching some rays on the roof of a car, and we shared a few profoundly joyous moments together. Her son, as always, ran away.

Then I went into town, bought stuff, and met Lucianna. After our brief visit, I continued on to a store recommended for shaving cream (the kind you use with a brush.) The lady there directed me to two options on opposite ends of the shop. I looked at both. One, in green plastic, was utterly normal and just as unexciting. The other was luxurious. Just holding the elegantly designed jar made my hands tingle. My favorite brand is made in Firenze and costs about €25, a hefty price but it lasts a year.  I figured this tingly stuff might cost something similar. I took it to the counter with the self-conscious disclaimer that I knew this was a little lux, but what the heck, gotta live life, right?

She described the cream’s superior qualities rather at length, then as casually as she could manage, said “Well, then, that’ll be €45,00.” Ah! Maybe a little too lux – for me – at the moment. How about that one in the boring green jar? “That’s €2,50.”

I finally did make it to Blue Bar. I was served by the lovely woman who has taken Romina’s place since she started teaching French at the public school. I took my dolce to the table, and was watching the world pass by the front window when Antonny swooped in. “Sorry! I was playing my guitar in the back room. It’s a chance to be alone, you know?” He played for me yesterday. He’s really quite good, and like his Italian and English (and commedia dell’arte, see the post The Bar Scene) he taught himself. “It’s harder that way, but you find your own style, and that’s better. I studied with a teacher for awhile. He said I’m good. But studying was like learning someone else’s style, so I quit. Now people come in, we jam, it’s fine.” He announced yesterday that come spring he’s gathering some music makers to play on the street in front of the bar at 7 pm weekdays. Reason enough to stay in town, as far as I’m concerned.

On my way home, I found that my lady cat and her normally frightened son had changed cars. I guess while I was shopping his mom convinced him that I’m okay, because for the first time, ever, the son asked me for attention. Mom was gracious, so long as I gave her a bit more time than I did to him.

As I approached the front gate, my ground floor neighbor was going in. “Shall I leave it open?” she asked? “If you like, thanks, I just have to go across the street and say good morning to the dogs.” She smiled and looked at me as if she had surely mistaken, as ever, what I had meant to say, and closed the gate. There are three dogs, of uncertain heritage, in the fenced yard across the street. At least two of them will always run up to say hello as I approach. They greet, I greet, all is well, and they go on with their day.

IMG_1497 (1)
While I was photographing the bookstore, this lovely lady threw herself at my feet as if to prove my point.

Why are dogs and cats so different in this culture? (I have no theories, and don’t believe I’ll be spending much time formulating any, but it’s an interesting question.)  Cats here are either like my lady cat or like her son has been until this morning. They throw themselves at my feet or they run away. I have yet to meet an indifferent feline in Orvieto. Dogs, on the other hand, are almost always indifferent. Most are not unfriendly, but they do not ask for attention, even when I offer it. The least indifferent canines I have met are the ones across the street, but we have a relationship that has to be factored in. Even they, however, run up to the gate tails a-wagging, greet, then go away. No hanging about for more, not even for a scratch behind the ears. It’s disorienting at first, these two earth-shattering reversals. But then, what isn’t?

I bought the cheap shaving cream in the green jar. I simply couldn’t justify the other. At some point I will actually leave town and go somewhere, and when I do, it may be to a town with a larger selection. In the meantime, I’m living so luxuriously in so many other ways, who cares about tingly?

How to Say “Gatta” in Mississippi?

Last night, I would have loved to have had a dinner date. Not so much for social balance as for having just witnessed a socio-cultural-theatrical phenomenon, and my brain was full to bursting. I have, in particular, a couple of friends knowledgable of the work of Tennessee Williams who would have been most welcome at table.

I saw an Italian production of Cat on a Hot Tin Roof (La Gatta sul Tetto Che Scotta) at Teatro Mancinelli. I needed about an hour of table talk after the final curtain and all I was able to get was a few minutes with the nice couple I shared a box with. I wrote a friend who is one of those Williams guys, but he couldn’t find a telesponder at such quick notice. Terribly short-sighted of me. I must improve.

Disclaimer; I only understood what I already know about the play and a few sentences, here and there. That’s better than anything else I’ve seen so far, but my experience of the play was primarily visual.

The set was a jewel-toned Edward Hopper painting; walls and doors of various rich greens and furniture in deep reds. Against the vast expanse of green was a yellow curtain that covered the door to everywhere, but only visible when it blossomed onto stage after someone had entered. Nifty touch. The dresses were taffeta and brightly colored, reminiscent of the fifties without being “of” the fifties. Every now and again (at what had been act breaks, as I recall) the back wall opened to reveal an overgrowth of vegetation. The curtain’s rising was immediately followed by a toy tractor of some kind making a bee line for the bed, under which it disappeared.

The acting seemed good. I especially liked Maggie and Brick. Like everything I’ve seen, the acting style tended to be operatic, and the other characters did their best not to disappoint me in that regard. The speech Big Daddy has that ends with his exclaiming that all is mendacity was delivered as a baritone aria and the audience duly applauded. I have a feeling that if Italian theater weren’t more than a little operatic, it would be so much like life as to be indistinguishable. Be that as it may.

As I mentioned, I was able to talk with my box-mates after the show. First I asked where the story was set. “In the American South, of course.” Really? “Well, actually, it was sort of generic.” Okay. Any accents? “No, pretty much standard Italian.” Even Maggie? “Maggie was just like everyone. Does she usually have an accent?” They all usually have accents. It’s just that Maggie sounded like she may have been doing one. “Really? What does the accent in English sound like?” Oh, slower than northern American English, and more musical, melodious, a little florid. “Like Italian?” Yeah, okay, like Italian. Except for the slow part. They laughed.

The interpretation was very Italian, the characters were very Italian, the relationships were very Italian, the overall concept… okay, you get the idea. To their credit, the story is actually, also very Italian, just as it sits. So maybe all this Italianità was a conscious choice. And maybe it wasn’t. I don’t remember all the character names, and there are never any programs, but the minister? Was a priest. In a cassock. And a yarmulke. Well, you know, the Catholic version. I found it so curious and kind of wonderful that in spite of all this, my box-mates completely accepted the production as having been set in the American South – until I raised my eyebrows.

Italians seem to make everything Italian. With plays, they do this to such an extent that it makes me wonder if copyright laws are enforced here, at all, or if maybe they’re just an ugly rumor. Italians do this switch to an extent I don’t think Americans do in return. I wonder if it’s because Italy has, since Roman times, been an absorbent culture, turning whoever comes here into an Italian within a generation, while in the States we allow immigrants (however reluctantly in some places, and at some times) to shape and change the overall culture. Yeah, new arrivals become American, but they stay hyphenated Americans for a long time, and yet their culinary contribution eventually ends up in the State Dining Room at The White House.

Since we’re there, let’s take dining as an example. There’s one not-Italian restaurant in Orvieto (out of dozens) and it’s Italian-Chinese. I mean, like a lot more Italian than Chinese. The most Chinese thing about it are the stone lions out front, and I suspect they were made in Viterbo. The food is probably no more strange to a native Chinese than Chinese-American is, but the extensive use of red sauce is startling. For the truly exotic, there are restaurants that specialize in cuisine not Umbrian or Classico. The Orvietan equivalent to a Samoan or Nigerian restaurant in the States, is one that features Sicilian.

Let’s now turn that phenomenon towards theatre. When Americans present an Italian (or French, or even a British) play, for example, mostly we try to honor the culture of origin, even if just a little, should it serve the play and our audience to do so. From what I’ve seen so far, Italians make it all about themselves. Not self-consciously so, but I suspect there might be riots otherwise. Okay, not actual riots, but at the very least lots of bewildered disappointment.

Of course Italians are not alone in this.  Americans do that switch with movies all the time; the French hit of tens years ago is reworked into an American story with beer and garbage disposals. And Shakespeare’s stock-in-trade were stories set in exotic places, with character names from other exotic places, and all mixed in with English cultural references, and little consistency to any of it.  But the thoroughness of Cat’s transition to a “typical” Italian family (however atypically dysfunctional) in a “typical” Italian situation was so utter and complete, and apparently so logical to the audience, that it left me a bit breathless. The audience seemed a bit breathless, too, and in a good way, so obviously the cultural transition worked.  I don’t mean any of this as criticism, it’s just giving vent to my curiosity.

The audience was my most profound experience last night in other ways, too. That’s not to slight the actors at all, but I was following my memory of the show more than the actors’ presentation of it, so my experience of the story wasn’t as immediate as it probably was for most people.

The audience were dressed. Not over-dressed, but really well-dressed. They were excited like I remember being excited at ACT in San Francisco and am often still excited on Broadway. They watched and listened with all their hearts, and did so for more than two hours with no intermission. They were various; all ages, all types, all levels of income. They applauded at the end like they owed it to the artists to let them know they were loved, and the artists took it in like they agreed. In this town of about 5,000, there were close to five hundred people there, and it was one of two performances. To be fair, people come into Orvieto from all around the area where there is no theatre at all, but still – the surrounding towns are even smaller. At 8:30 five hundred or so people went from the theatre into a restaurant of their choice: a perfect symbiosis.

Okay about 499 did. I walked around a bit, came home, and had a sandwich. But a very good sandwich. And as American a sandwich as I could muster. And rounded it off with a tozzetto dunked in sambuca.

The Bar Scene:

It was maybe 2006. Could have been 2009. Might have been in between. The memory is strong, but the temporal context is obviously weak. I do vividly recall asking the folks at Lingua Si (where I studied Italian off and on for about ten years) if they knew who I was referring to. One person did, but no one else had noticed him. He worked the evening shift, as I recall, and everyone I knew at LinguaSi at the time lived outside of town.

Whatever year it was, the people who were here for the commedia course, In Bocca al Lupo, heard me talk about him. I suggested they go to the bar on his shift and observe. Commedia can become over-styled, a tradition apart from life, and here was an Arlecchino, in life, behind the counter at Bar Montanucci.

A couple of examples. I order a glass of wine; he spins around, flings open the door to the chiller, spins again, pulls out a bottle, flips it, and displays it for me with his right index finger on the top, two left fingers at the base, and makes the bottle give me a little bow. I order a cup of coffee; he turns his back, grabs a saucer from behind, flips it over his shoulder, catches it in front, flips it again, and puts it together with a spoon he fetched while the saucer was still in the air, onto the counter in front of me, and at the same time.

Everything was like that. I ordered stuff just to see his act.

I imagined two things about this guy. First, that he was actually a real-life commedia character; that this was the way he moved, worked, and presented himself. My observations bore this theory out rather well.

The second was a reaction to the first theory, which although appealing, seemed far too romantic. He was a recently graduated acting student, here on a summer job, soon to export himself to Rome for a start on his theatrical career. After a few weeks of catching his act at Montanucci, he disappeared, so the second theory won out.

I always secretly leaned towards the first, though, and when I told students about him, that was the context in which he was presented. Students always heard about him, too, even if they were in Pennsylvania and had not even a mental image of Montanucci or Orvieto. His behind-the-bar antics were so joyful, and seemed so genuine, I wanted to believe he was real.

Whichever he was, he had become a legend in my own mind.

When I arrived here last October, I was invited to dinner by the lovely Irish couple who are renting me their apartment for these months. One of the first things they told me was to go to Blue Bar. “It’s a terrific place,” they said. “Antonny will introduce you to everyone. It’s a kind of hub.” So, one of the first places I checked out was Blue Bar.

I’d been in before, many years ago and under a previous owner, because it was one of the early bars with wi-fi, and possibly the only one in Orvieto that didn’t charge for it. It’s a nice little place, nothing at all fancy. The coffee these days is excellent. They have a modest but high-quality selection of pastries, including my favorite, a cheese-drenched spiraletto. (I just made up the name, I have no idea what it might be called in any language, nor does anyone else I’ve asked.) The bar is owned by Antonny Le Grand and his partner, Romina Cipolla, lovely people both.

Blue Bar is a hub, indeed. There’s a constant flow of customers in and out, mostly from the immediate area (the neighbors, the cobbler, the grocer, the ceramicist, the insurance guys, the bank guys, the baristas from Montanucci.) Antonny and Romina greet them by name, they joke, they introduce. It is, in a lot of ways, what I wanted my Caffe Domenica of 30-some years ago to be.

Antonny befriended me immediately. I think the main reason was so he could practice his English, but in some way we’ve not quite figured out yet, we’re just naturally friends. He does imitations; (English people ordering coffee with a gruff voice and an elegant manner, Americans not saying hello and asking to use the bathroom.) He twists and turns and throws things into the air while serving. He hugs people when they arrive, kisses them when they leave. Wow, I thought, he reminds me of that other guy, years ago, at Montanucci.

Today I go for coffee. Another customer, a natural comedian, is praising the ciambellone (we’d say bundt cake) repeatedly and excessively – sincerely, too. He’s making us laugh, and loves having an audience. Antonny introduces him, he’s a barista at Montanucci. “Yeah, I worked there a few years ago,” Antonny says. Finally, I put the obvious together. Antonny had no beard in those days, was a bit thinner, his hair was different, and I probably wouldn’t have recognized him anyway, because all I really remember are his antics. Antonny’s the legendary Arlecchino-behind-the-bar, tossing and spinning and goofing around, always with supreme class!

I was so excited I could hardly contain myself. It was like meeting a major celebrity, except that I had been the one to create his celebrity, and no one else considers him famous. But it didn’t matter. It was better than running into Johnny Depp.

I told him about my connection, and he was delighted. Now, when I walk in, he introduces me as the guy who knew him at Montanucci, and recounts the whole story in detail. His other customers tolerantly listen, smile bemusedly, and bask in his energetic aura. He’s a unique individual, and so unlike most Orvietani. Okay, most people.

IMG_1446

A few days ago I come in around 12:30 just as Antonny is attempting to have lunch. He sits at my favorite table in the next room and invites me to join him. “So,” he says, in his Frenchy English “Americans come in here and they call me ‘quite a character’. Is that good?” I explain that it could be either depending on how it was said. I demonstrate. Antonny considers this, then replies “It was the good way.” and goes on to talk about how he learned Italian.

Today, I mention my dental situation of last Monday. “Oh, there’s a dentist right around the corner, want me to take you over to meet him?” No, I tell him, I found a dentist I really like, and I describe Giuseppe. Antonny’s eyes grow dark. I ask what’s up. “He and his team are very good, sure. But they came in here once and just talked to each other. Nothing at all to me. What’s that about?” And he winks, turns, and goes off to charm the latest arrival.

The best part about Antonny is that he loves doing what he does, exactly the way he does it. Consequently, and without it being his main intention, he’s established a consistent clientele, one more loyal than most soccer fans. May we all, in our own ways, be at least a little bit like Antonny.

Walk Around the Rock:

One of Orvieto’s most wonderful amenities is the Anello della Rupe – loosely translated, The Ring Around the Cliff – a footpath that encircles the city. Enter the Anello at any one of its five entrances, and you undergo an instant transformation from Urban Dweller to Woods Hiker.

Directly across a small piazza (now a parking lot) from where I live is Porta Vivaria. Of the old gate only the vertical posts and few stones of the arch remain. Originally, a steep road went from piazza to gate, and past it there were broad steps down to the valley floor. Small livestock were brought through the gate on their way to market in nearby Piazza del Popolo, thus the name “vivaria”. Popolo still hosts the mercato ai fuori every Thursday and Saturday, as it has for centuries (though probably not on the exact same schedule) but no chickens and goats, in case you’re wondering.  Now it’s all clothing and cheese, produce and plants.

The path west from Porta Vivaria overlooks relatively recent excavations of one of the many Etruscan necropoli scattered throughout the area.  The necropolis we’re passing now resembles a village of little cubes with roofs of sod, neat alleys, and sturdy stonework. I tried once to visit the site, but the gate was closed, or it seemed closed and I fell for the ruse. This day, there were visitors wandering around. I’d never seen that before, but it sent a clear signal that the park was open, so I went down to see if I could get in.  Everything was unlocked, I paid my €3, and stepped back in time.

About half the tombs in this necropolis have been excavated, many of them “restored,” that is, missing pieces filled in with new material to stabilize the structures. You can walk around, go inside, touch, sit, breathe, and feel the centuries. It’s really great. The necropolis was build between 2,500 and 2,300 years ago, more or less. The display in the information center suggests that the tombs here were of middle class and upper middle class families rather than for aristocrats; that Velzna (the Etruscan Orvieto) was a relatively egalitarian society with a powerful middle class.

Then in between 300 and 270 BCE something happened. Here’re a couple of excerpts from a Roman source.

“These people were the most ancient of the Etruscans; they had acquired power and had erected an extremely strong citadel, and they had a well-governed state.  Hence, on a certain occasion, when they were involved in war with the Romans, they resisted for a very long time.  Upon being subdued, however, they drifted into indolent ease, left the management of the city to their servants, and used those servants also, as a rule, to carry on their campaigns.  Finally they encouraged them to such an extent that the servants gained both power and spirit, and felt that they had a right to freedom; and, indeed, in the course of time they actually obtained this through their own efforts.

Hence the old-time citizens, not being able to endure them, and yet possessing no power of their own to punish them, despatched envoys by stealth to Rome.”

Rome, eager to please the estranged upper classes, engaged in “corrective intervention.”

This fascinates me. There is an historical hypothesis floating around that Rome was founded by the Etruscans. Without going into this too deeply, there is sense to it. Before the republic, Rome was governed by Tarquinian (Etruscan) kings or dictators. There are Roman histories to justify this oddness, but why would a bunch of Latin miscreants (for Romulus is said to have invited felons and exiles into his city to populate it) eager for freedom invite Etruscans to exercise absolute rule? Well, maybe they needed a kind of warden, but still.

The hypothesis goes on. During republican expansion, the powers-that-be began rewriting history to reflect a more patriotic Roman origin of the city, so Romulus and Remus and the She-Wolf were invented, and the Etruscan influence on culture, religion, and political structure was downplayed. After all, Rome was out to conquer Etruria, and you don’t do that kind of thing to your grandparents if you want to sleep at night. The solution? Change your grandparents. Rome’s was also a profoundly hierarchical society. It was only over time that reforms were made in governance that allowed the common citizen some say in policy and taxation, and slavery was a economic mainstay not to be tampered with.

So, what was going on with Velzna’s middle class that the Romans found so threatening? Were they experimenting with an egalitarian society at a time when the Roman Senate was feeling pressure from below? If Rome was primally Etruscan and the influence was still strong (and Velzna was now under Roman dominion), was this movement in Velzna a direct threat to the Roman power structure? I find the possibilities fascinating.

The archeology museum in town displays frescos that were lifted from one of the larger tombs in another necropolis southeast of the city. Those in the left chamber are of a kitchen staff cheerfully preparing a meal, while the frescoed right chamber shows the meal (possibly the funerary feast for the deceased) being served in a commodious dining room. With a few deft strokes, the artists captured personalities, body types, motion, relationship, and intention. There’s no attempt at realistic anatomical detail, but the figures leap across time; are startlingly familiar.

The paintings are familiar because of their sensitivity to the human form. They are also familiar because the Etruscans are still here, in Orvieto. There are a few people around town whose figures and faces could have been copied from surviving Etruscan art, if life really did imitate art (and who knows, maybe it does?) and many more, while less representative of the Etruscan ideal, still have the features.

Next, we come to Porta Maggiore, the Etruscan city’s only gate. The street that descends to the gate is called Via della Cava. It, and the gate, were cut into the rock by the Etruscans, and the gate’s supporting structure, the pavement, and perhaps a couple of temples in the area were then built from the stone quarried during the cut. When you walk the walls, you pass over the gate partly on original rock. The medieval (and no doubt the Etruscan) town grew up around Porta Maggiore. From there, the street climbs steeply to what is alternately called Piazza Sant’Andrea or Piazza della Reppublica (and casually, Piazza del Comune). Excavations have lead archeologists to conclude that the piazza has been in use as a market center since Etruscan times. The piazza’s eponymous church, Sant’Andrea, is placed on the foundations of both a Romanesque church and an Etruscan temple.

ExCampo2

We continue on the Anello a short distance from Porta Maggiore, and arrive at ex-Campo della Fiera and Foro Boario. The Campo was further out for the Etruscans, both before and during Roman occupation. That site, about a kilometer away from the cliff, is being excavated and foundations of temples and official buildings have been uncovered. They suggest that Velzna was an important spiritual and administrative center, and that the Campo was used both for large regional markets and religious purposes. During the late medieval period, the market activities were moved closer to town. Foro Boario is the name for the cattle market that was also held here. These days, the area is occupied by a parking structure. Barely visible from the valley, it is an elegant piazza from the cliff.

Just past the Foro are the remains of the medieval aqueduct. A hugely ambitious project for its day, it proved to be difficult to maintain. Its history is one of boom and bust, emperor and pope, and ongoing rivalries between powerful families. It reminds me of how any collective effort requires rock solid political stability in order to sustain funding and organization. It’s easy to forget what remarkable times we live in, and how quickly they can dissolve.

Then for awhile, our walk is simply gorgeous. First we come to a row of houses along a bit of street called via (or strada) del Salto di (or del) Livio. The five buildings that look out over green gardens are, at most, a ten minute walk to your favorite coffee bar; shorter if you take the elevator that serves the garage. I’d love to live there.

The name of the street has a tragic, lovelorn history behind it. During the time of the Medici, Orvieto was riven by interfamilial strife. One of the warring families was the Sarancinelli who dominated the quarter now called Serancia, though the family probably took its name from the quarter rather than the other way around. Serancia sits on the cliffs above the street we’re passing now on the Anello.

One of the Sarancinelli was a young man named Livio who tried to set himself apart from the factionalism. By chance, he met a young woman visiting from Rome named Livia (cute, heh?) and they immediately fell in love. This was all very good and fine, but there had been a prophecy that predicted the extinction of the family should one of its members marry a Roman. So cousins of Livio (only thinking of the good of the family, of course) poisoned Livia, and she died three days later in the arms of her beloved. Livio fled to Rome, raised a militia, and returned for his revenge. When his attempts to kill the murders failed, he threw himself off the nearest cliff, and the area into which his body fell is called Salto di Livio; basically, Livio’s Leap.

I’d still love to live there.

Then for another a kilometer or so we pass fascinating cliffs to the left, and to the right, rolling countryside, groves, and farms. The cliffs are fascinating because as they have fallen away over the centuries, caverns, caves, cisterns, rooms, and dovecotes have been revealed. Some of them have been filled in with masonry to prevent further erosion, others are left open, yet others have doors and window frames installed and apparently continued to be put to good use until quite recently.

The butte that Orvieto rests on is riddled with man-made tunnels, rooms, and cavities. The first were cisterns and storm drains carved out by the Etruscans. The Romans expanded these, the Orvietani who followed turned them into storage rooms, cellars, and trash dumps. The resulting labyrinth is comprised of over 1,200 chambers, passages, and wells. Many of Orvieto’s houses include a system of underground excavations that are still used to store wine, oil, and last year’s fashions. My realtor is always quite excited when a property includes caverne as we turn on our cellphone flashlights and eagerly descend.

I discovered early in my stay that going back into town via the next entrance constitutes a vigorous workout. One lengthy climb takes you up to three switchbacks followed by a hundred-fifty steps to street level. After my first ascent – which was, shall we say, not exactly in the manner of a mountain goat – I resolved (panting and sweating) to make the climb two or three times a week. I’ve been doing at least that, and my climbing abilities have improved, though not yet of goat caliber. At the top you’re rewarded, in spring and summer at any rate, with a rose garden. This entrance is named Palazzo Crispo-Marsciano. I like repeating the name. It’s fun. Palazzo Crispo-Marsciano. Palazzo Crispo-Marsciano.

“Crispo” was Tiberio Crispo, father of Pope Paul III. “Marsciano” was Ludovico dei Conti di Marsciano, a busy fellow who fought Turks for the Venetians and lead the Papal armies in Hungary. Now the palazzo is an office of the Tax Police. Really.

Next stop on the Anello, after a few more steep hills and valleys, is the double gate that abuts Fortezza Albornoz. In Etruscan times it was the site of a temple (what wasn’t?) that has been since named Augurale. Its first incarnation as a fort was a project of Cardinal Albornoz, a general and military advisor to Pope Innocent VI (a misnomer if ever there was one,) with a start date of 1364. It was destroyed in 1390, rebuilt in 1395, reinforced in 1413, and mostly destroyed except for the perimeter walls sometime later. Around 1527, Clement VII, concerned that if there were a siege he and his townsmen might run out of water, and having had a bad time of it when the French sacked Rome, began construction on Pozzo di San Patrizio. A remarkable bit of engineering, the well achieves a depth of 53 meters and is served by a double helix so that mules going down for water can keep right on going up again without meeting any of their descending brethren.

The fact that the gate next to the fort has several names, and is still known by all of them – each with authoritative historical roots – says something about Orvieto’s ability to tolerate contradiction, but I’m not exactly sure what. That I’m at all worried about the multiple names probably says something about me, too, and of that I can probably guess. The gate is variously called Porta Rocca, Porta Soliana, and Porta Postierla.  I’ve even heard it casually referred to as Porta Albornoz and La Porta della Fortezza. The Outsider: I mean, really, people, we’ve had like a thousand years to work this through, can we arrive at a consensus, please? Orvieto: We need to? Why?

To the left, the Anello takes us over the funicular track, on through its woodiest section, and, after another couple of kilometers, back to Porta Vivaria.

The funicular was built in 1888 to connect the new railway line with the upper town. It was originally a hydro-balance system. Water was pumped into the upper car as it took on passengers, and out of the lower at the same time. Then a brake was released, and the two cars, connected to the same cable loop, switched places. The line was abandoned in 1970 (bad years for urban life everywhere,) electrified in 1990 and re-opened shortly thereafter. It runs every 10 minutes from 7:10 am to about 8:30 pm, thereby proving to be teasingly useless to morning commuters who have to catch the train to Rome that leaves at 6:57. Some things are universal.

Were we to continue to the right instead, we arrive in Scalo, the lower city, via a paved footpath (paved a long time ago, so don’t picture asphalt.) Orvieto Scalo gets its name from the scales that used to weigh goods coming into and going out of town so they could be taxed. This was during the days of the Papal States. There are lots of interesting surviving oddities from those times in habit, law, custom, and cuisine. I’ll do a post one of these days.

What I find particularly wonderful about the Anello is that you can decide to hike it almost on a whim. Enjoy a hearty lunch, stroll over to a bar, throw down a caffe macchiato, and, wow! I feel like a walk. Let’s do the Anello! Minutes later you’ve left behind the urban crush, noise, and oppressive bustle of Orvieto (winky, smiley face,) and are surrounded by nature.

It was perhaps this sort of thing that inspired New York’s city planners to conclude that a central park would be a good idea.  It is an excellent idea.

Confessions of a Gelatophiliac:

During my first stay in Orvieto fifteen years ago, I discovered Gelateria Pasqualetti. The ice cream they served was comparable to anything you would find at Vivoli di Firenze. Everyone agreed. Orvieto was blest.

I’m there years later and ask for the restroom. I’m directed up some stairs that take me through a kind of mezzanine overlooking the kitchen. The view is from a Flemish painting, piled with crates of peaches, lemons, berries, oranges, chocolate, nuts. It’s a rainbow of flavor that justifies the magnificent gelato vended below. The perfect balance of sweet and tart, the luscious textures, the modest portions, it all makes sense looking at that kitchen. Classic Italian quality in a classic Italian product served in the classic Italian manner.

I loved Pasqualetti. I bragged about it to anyone who would at least make an effort to conceal the rolling of their eyes out of respect (or pity) for my obsession.

In March 2014, I lead a group of students from Marywood University on a week’s study tour to Orvieto. I told them all about Pasqualetti. They were stoked to try it. I arrive a few days ahead of time to set up, and make my primal pilgrimage the next afternoon. A sign taped to the door says, “Closed for the winter.” I gripe to anyone I can rely on to conceal their boredom out of pity (or fatigue) for my emotional devastation.

The next day, I pass a satellite store Pasqualetti had opened on Via del Duomo. I’m thrilled and immediately order my customary first combination; nocciola, caffè, cioccolato, in coppetta piccola. As the gelato is being scraped into the larger-that-I-remember cup, I imagine my students’ faces lighting up at their first taste of the real thing.

One of the things I cherish about the traditional gelateria – I don’t know why – is the small cup portion. It’s actually small. You order a small anything in most fast food shops in the States and are given what was called extra-super-large a mere twenty years ago. When I order small, I want to receive small. It’s a matter of principle.

Larger than I remember. Pasqualetti’s “small” is at least 50% bigger than what used to be their “medium” and it costs three euro. The cup is also overfilled. I’m a little disturbed, but what’s a cup, anyhow? It’s what’s in the cup that counts. I taste my first spoonful.

The gelato is sweet. Very sweet. So sweet, I can’t taste anything but sugar. Larger cup, fancy graphics, a branch store with more visibility, twice the sugar. Something’s afoot, it’s not pretty, and I don’t really want to know the truth. I feel betrayed and more than I realize, and am deeply reluctant to face the fact.

My students arrive, they sample the gelato at Pasqualetti and at the “new” place on Corso Cavour, L’Officina del Gelato, and they naturally compare. They ask which of the stores I was going on about back home, and roll their eyes when I tell them. Out of respect for their brutal honesty (and inexperience), I pretend to look away.

A few days later, I mention my suspicions to a friend. He confirms my fears.  The Pasqualetti family no longer owns the business. The new owners cater to American tourists and imported American tastes, and that demands large portions and lots of sugar. Then he goes through the list of profit-boosting adjustments made, all of them, in his opinion, at the sacrifice of the product. By the time he’s through with his report, I’m a psychological wreck.

Last May, I still couldn’t come to grips. I’d tasted the product at L’Officina and declared it inferior to what Pasqualetti used to serve. I was spiteful, or lovesick, or both. Attached. Blinded by the past.

Barely a day passed between May and October when I didn’t at some point contemplate my resistance. Pasqualetti had sold out. L’Officina opened shortly after. Maybe there’s a connection. Maybe I ought to give the young rebel a fair trial.

When I arrive back in October my first gelato is at L’Officina. It’s good. In fact, it’s very, very… very good. Rich, deep flavors, not over sweet, it’s served in an actual coppetta piccola, and costs two euro. The gelatophiliac heaves a sigh of relief. I have since returned at least four times a week.

Around four o’clock is usually when, if I’m going to have a pick-me-up, I head for l’Officina. Today at four I walk to Corso Cavour and turn right. A few more paces puts the storefront in sight. Hmmm, the awning is up. The awning is never up during business hours. My heart beats a little faster. Ahead of me, a man stands at the door. He stares at a piece of paper taped to the glass, turns away in confusion, looks back. I reach the door and see it. “Closed through March 4.” We turn to each other and groan.

“It’s very good gelato,” says the man to no one in particular (his son is still across the street.) “There’s no better. I don’t know. This is bad.”

I agree.

“Then let’s go and get some cake, instead,” says the son, joining him.

I roll my eyes, but out of respect for his youthful stupidity, I’m discrete about it. They go off for cake.

I stand facing the door, staring at that sign. Cake? How is cake a substitute for gelato? That’s absurd. And once used to the best, in a small cup, how could I ever go back to… the other place? I can’t. I’ll just have to give it up until March. No other choice. Maybe give up sugar entirely. I’ve done it before. It just seems so anti-Italian. But then, that’s my view from decades ago, Italy has changed, it’s time for me to change with it.

I walk in circles, mumbling to myself. Passersby arch away. I twitch a few times, and sigh again. Then I go and get some cake.

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…