Eat, Pray, Love (11 page)

23

Y
esterday afternoon I went to the soccer game with Luca Spaghetti and his friends. We were there to watch Lazio play. There are two soccer teams in Rome—Lazio and Roma. The rivalry between the teams and their fans is immense, and can divide otherwise happy families and peaceful neighborhoods into civil war zones. It’s important that you choose early in life whether you are a Lazio fan or a Roma fan, because this will determine, to a large part, whom you hang out with every Sunday afternoon for the rest of time.

Luca has a group of about ten close friends who all love each other like brothers. Except that half of them are Lazio fans and half of them are Roma fans. They can’t really help it; they were all born into families where the loyalty was already established. Luca’s grandfather (who I hope is known as Nonno Spaghetti) gave him his first sky-blue Lazio jersey when the boy was just a toddler. Luca, likewise, will be a Lazio fan until he dies.

“We can change our wives,” he said. “We can change our jobs, our nationalities and even our religions, but we can never change our team.”

By the way, the word for “fan” in Italian is
tifoso.
Derived from the word for typhus. In other words—one who is mightily fevered.

My first soccer game with Luca Spaghetti was, for me, a delirious banquet of Italian language. I learned all sorts of new and interesting words in that stadium which they don’t teach you in school. There was an old man sitting behind me, stringing together such a gorgeous flower-chain of curses as he screamed down at the players on the field. I don’t know all that much about soccer, but I sure didn’t waste any time asking Luca inane questions about what was going on in the game. All I kept demanding was, “Luca, what did the guy behind me just say? What does
cafone
mean?” And Luca—never taking his eyes from the field—would reply, “Asshole. It means asshole.”

I would write it down. Then shut my eyes and listen to some more of the old man’s rant, which went something like:

Dai, dai, dai, Albertini, dai . . . va bene, va bene, ragazzo mio, perfetto, bravo, bravo . . . Dai! Dai! Via! Via! Nella porta! Eccola, eccola, eccola, mio bravo ragazzo, caro mio, eccola, eccola, ecco—AAAHHHHHHHHH!!! VAFFANCULO!!! FIGLIO DI MIGNOTTA!! STRONZO! CAFONE! TRA-DITORE! Madonna . . . Ah, Dio mio, perché, perché, perché, questo è stupido, è una vergogna, la vergogna . . . Che casino, che bordello . . . NON HAI UN CUORE, ALBERTINI! FAI FINTA! Guarda, non è successo niente . . . Dai, dai, ah. . . . Molto migliore, Albertini, molto migliore, sì sì sì, eccola, bello, bravo, anima mia, ah, ottimo, eccola adesso . . . nella porta, nella porta, nell—VAFFANCULO!!!!!!!

Which I can attempt to translate as:

Come on, come on, come on, Albertini, come on . . . OK, OK, my boy, perfect, brilliant, brilliant . . . Come on! Come on! Go! Go! In the goal! There it is, there it is, there it is, my brilliant boy, my dear, there it is, there it is, there—AHHHH! GO FUCK YOURSELF! YOU SON OF A BITCH! SHITHEAD! ASSHOLE! TRAITOR! . . . Mother of God . . . Oh my God, why, why, why, this is stupid, this is shameful, the shame of it . . . What a mess . . .
[
Author’s note: Unfortunately there’s no good way to translate into English the fabulous Italian expressions
che casino
and
che bordello,
which literally mean “what a casino,” and “what a whorehouse,” but essentially mean “what a friggin’ mess.”]
. . .
YOU DON’T HAVE A HEART, ALBERTINI!!!! YOU’RE A FAKER! Look, nothing happened . . . Come on, come on, hey, yes . . . Much better, Albertini, much better, yes yes yes, there it is, beautiful, brilliant, oh, excellent, there it is now . . . in the goal, in the goal, in the—FUUUUUCK YOUUUUUUU!!!

Oh, it was such an exquisite and lucky moment in my life to be sitting right in front of this man. I loved every word out of his mouth. I wanted to lean my head back into his old lap and let him pour his eloquent curses into my ears forever. And it wasn’t just him! The whole stadium was full of such soliloquies. At such high fervor! Whenever there was some grave miscarriage of justice on the field, the entire stadium would rise to its feet, every man waving his arms in outrage and cursing, as if all 20,000 of them had just been in a traffic altercation. The Lazio players were no less dramatic than their fans, rolling on the ground in pain like death scenes from
Julius Caesar,
totally playing to the back row, then jumping up on their feet two seconds later to lead another attack on the goal.

Lazio lost, though.

Needing to be cheered up after the game, Luca Spaghetti asked his friends, “Should we go out?”

I assumed this meant, “Should we go out to a bar?” That’s what sports fans in America would do if their team had just lost. They’d go to a bar and get good and drunk. And not just Americans would do this—so would the English, the Australians, the Germans . . . everyone, right? But Luca and his friends didn’t go out to a bar to cheer themselves up. They went to a bakery. A small, innocuous bakery hidden in a basement in a nondescript district in Rome. The place was crowded that Sunday night. But it always is crowded after the games. The Lazio fans always stop here on their way home from the stadium to stand in the street for hours, leaning up against their motorcycles, talking about the game, looking macho as anything, and eating
cream puffs.

I love Italy.

24

I
am learning about twenty new Italian words a day. I’m always studying, flipping through my index cards while I walk around the city, dodging local pedestrians. Where am I getting the brain space to store these words? I’m hoping that maybe my mind has decided to clear out some old negative thoughts and sad memories and replace them with these shiny new words.

I work hard at Italian, but I keep hoping it will one day just be revealed to me, whole, perfect. One day I will open my mouth and be magically fluent. Then I will be a real Italian girl, instead of a total American who still can’t hear someone call across the street to his friend Marco without wanting instinctively to yell back
“Polo!”
I wish that Italian would simply take up residence within me, but there are so many glitches in this language. Like, why are the Italian words for “tree” and “hotel” (
albero
vs.
albergo)
so very similar? This causes me to keep accidentally telling people that I grew up on “a Christmas hotel farm” instead of the more accurate and slightly less surreal description: “Christmas tree farm.” And then there are words with double or even triple meanings. For instance:
tasso.
Which can mean either interest rate, badger, or yew tree. Depending on the context, I suppose. Most upsetting to me is when I stumble on Italian words that are actually—I hate to say it—ugly. I take this as almost a personal affront. I’m sorry, but I didn’t come all the way to Italy to learn how to say a word like
schermo
(screen).

Still, overall it’s so worthwhile. It’s mostly a pure pleasure. Giovanni and I have such a good time teaching each other idioms in English and Italian. We were talking the other evening about the phrases one uses when trying to comfort someone who is in distress. I told him that in English we sometimes say, “I’ve been there.” This was unclear to him at first—
I’ve been where?
But I explained that deep grief sometimes is almost like a specific location, a coordinate on a map of time. When you are standing in that forest of sorrow, you cannot imagine that you could ever find your way to a better place. But if someone can assure you that they themselves have stood in that same place, and now have moved on, sometimes this will bring hope.

“So sadness is a place?” Giovanni asked.

“Sometimes people live there for years,” I said.

In return, Giovanni told me that empathizing Italians say
L’ho provato sulla mia pelle,
which means “I have experienced that on my own skin.” Meaning, I have also been burned or scarred in this way, and I know exactly what you’re going through.

So far, though, my favorite thing to say in all of Italian is a simple, common word:

Attraversiamo.

It means, “Let’s cross over.” Friends say it to each other constantly when they’re walking down the sidewalk and have decided it’s time to switch to the other side of the street. Which is to say, this is literally a pedestrian word. Nothing special about it. Still, for some reason, it goes right through me. The first time Giovanni said it to me, we were walking near the Colosseum. I suddenly heard him speak that beautiful word, and I stopped dead, demanding, “What does that mean? What did you just say?”

“Attraversiamo.”

He couldn’t understand why I liked it so much.
Let’s cross the street?
But to my ear, it’s the perfect combination of Italian sounds. The wistful
ah
of introduction, the rolling trill, the soothing
s,
that lingering “ee-ah-moh” combo at the end. I love this word. I say it all the time now. I invent any excuse to say it. It’s making Sofie nuts.
Let’s cross over! Let’s cross over!
I’m constantly dragging her back and forth across the crazy traffic of Rome. I’m going to get us both killed with this word.

Giovanni’s favorite word in English is
half-assed.

Luca Spaghetti’s is
surrender.

25

T
here’s a power struggle going on across Europe these days. A few cities are competing against each other to see who shall emerge as the great twenty-first-century European metropolis. Will it be London? Paris? Berlin? Zurich? Maybe Brussels, center of the young union? They all strive to outdo one another culturally, architecturally, politically, fiscally. But Rome, it should be said, has not bothered to join the race for status. Rome doesn’t compete. Rome just watches all the fussing and striving, completely unfazed, exuding an air like:
Hey—do whatever you want, but I’m still Rome.
I am inspired by the regal self-assurance of this town, so grounded and rounded, so amused and monumental, knowing that she is held securely in the palm of history. I would like to be like Rome when I am an old lady.

I take myself on a six-hour walk through town today. This is easy to do, especially if you stop frequently to fuel up on espresso and pastries. I start at my apartment door, then wander through the cosmopolitan shopping center that is my neighborhood. (Though I wouldn’t exactly call this a
neighborhood,
not in the traditional sense. I mean, if it is a neighborhood, then my neighbors are those just-plain-regular-folk with names like the Valentinos, the Guccis and the Armanis.) This has always been an upscale district. Rubens, Tennyson, Stendhal, Balzac, Liszt, Wagner, Thackeray, Byron, Keats—they all stayed here. I live in what they used to call “The English Ghetto,” where all the posh aristocrats rested on their European grand tours. One London touring club was actually called “The Society of Dilettanti”—imagine
advertising
that you’re a dilettante! Oh, the glorious shamelessness of it . . .

I walk over to the Piazza del Popolo, with its grand arch, carved by Bernini in honor of the historic visit of Queen Christina of Sweden (who was really one of history’s neutron bombs. Here’s how my Swedish friend Sofie describes the great queen: “She could ride, she could hunt, she was a scholar, she became a Catholic and it was a huge scandal. Some say she was a man, but at least she was probably a lesbian. She dressed in pants, she went on archaeological excavations, she collected art and she refused to leave an heir”). Next to the arch is a church where you can walk in for free and see two paintings by Caravaggio depicting the martyrdom of Saint Peter and the conversion of Saint Paul (so overcome by grace that he has fallen to the ground in holy rapture; not even his horse can believe it). Those Caravaggio paintings always make me feel weepy and overwhelmed, but I cheer myself up by moving to the other side of the church and enjoying a fresco which features the happiest, goofiest, giggliest little baby Jesus in all of Rome.

I start walking south again. I pass the Palazzo Borghese, a building that has known many famous tenants, including Pauline, Napoleon’s scandalous sister, who kept untold numbers of lovers there. She also liked to use her maids as footstools. (One always hopes that one has read this sentence wrong in one’s
Companion Guide to Rome,
but, no—it is accurate. Pauline also liked to be carried to her bath, we are told, by “a giant Negro.”) Then I stroll along the banks of the great, swampy, rural-looking Tiber, all the way down to the Tiber Island, which is one of my favorite quiet places in Rome. This island has always been associated with healing. A Temple of Aesculapius was built there after a plague in 291 BC; in the Middle Ages a hospital was constructed there by a group of monks called the Fatebene-fratelli (which can groovily be translated as “The Do-Good Brothers”); and there is a hospital on the island even to this day.

I cross over the river to Trastevere—the neighborhood that claims to be inhabited by the truest Romans, the workers, the guys who have, over the centuries, built all the monuments on the other side of the Tiber. I eat my lunch in a quiet trattoria here, and I linger over my food and wine for many hours because nobody in Trastevere is ever going to stop you from lingering over your meal if that’s what you would like to do. I order an assortment of
bruschette,
some
spaghetti cacio e pepe
(that simple Roman specialty of pasta served with cheese and pepper) and then a small roast chicken, which I end up sharing with the stray dog who has been watching me eat my lunch the way only a stray dog can.

Then I walk back over the bridge, through the old Jewish ghetto, a sorely tearful place that survived for centuries until it was emptied by the Nazis. I head back north, past the Piazza Navona with its mammoth fountain honoring the four great rivers of Planet Earth (proudly, if not totally accurately, including the sluggish Tiber in that list). Then I go have a look at the Pantheon. I try to look at the Pantheon every chance I get, since I am here in Rome after all, and an old proverb says that anyone who goes to Rome without seeing the Pantheon “goes and comes back an ass.”

On my way back home I take a little detour and stop at the address in Rome I find most strangely affecting—the Augusteum. This big, round, ruined pile of brick started life as a glorious mausoleum, built by Octavian Augustus to house his remains and the remains of his family for all of eternity. It must have been impossible for the emperor to have imagined at the time that Rome would ever be anything but a mighty Augustus-worshipping empire. How could he possibly have foreseen the collapse of the realm? Or known that, with all the aqueducts destroyed by barbarians and with the great roads left in ruin, the city would empty of citizens, and it would take almost twenty centuries before Rome ever recovered the population she had boasted during her height of glory?

Augustus’s mausoleum fell to ruins and thieves during the Dark Ages. Somebody stole the emperor’s ashes—no telling who. By the twelfth century, though, the monument had been renovated into a fortress for the powerful Colonna family, to protect them from assaults by various warring princes. Then the Augusteum was transformed somehow into a vineyard, then a Renaissance garden, then a bullring (we’re in the eighteenth century now), then a fireworks depository, then a concert hall. In the 1930s, Mussolini seized the property and restored it down to its classical foundations, so that it could someday be the final resting place for
his
remains. (Again, it must have been impossible back then to imagine that Rome could ever be anything but a Mussolini-worshipping empire.) Of course, Mussolini’s fascist dream did not last, nor did he get the imperial burial he’d anticipated.

Today the Augusteum is one of the quietest and loneliest places in Rome, buried deep in the ground. The city has grown up around it over the centuries. (One inch a year is the general rule of thumb for the accumulation of time’s debris.) Traffic above the monument spins in a hectic circle, and nobody ever goes down there—from what I can tell—except to use the place as a public bathroom. But the building still exists, holding its Roman ground with dignity, waiting for its next incarnation.

I find the endurance of the Augusteum so reassuring, that this structure has had such an erratic career, yet always adjusted to the particular wildness of the times. To me, the Augusteum is like a person who’s led a totally crazy life—who maybe started out as a housewife, then unexpectedly became a widow, then took up fan-dancing to make money, ended up somehow as the first female dentist in outer space, and then tried her hand at national politics—yet who has managed to hold an intact sense of herself throughout every upheaval.

I look at the Augusteum, and I think that perhaps my life has not actually been
so
chaotic, after all. It is merely this world that is chaotic, bringing changes to us all that nobody could have anticipated. The Augusteum warns me not to get attached to any obsolete ideas about who I am, what I represent, whom I belong to, or what function I may once have intended to serve. Yesterday I might have been a glorious monument to somebody, true enough—but tomorrow I could be a fireworks depository. Even in the Eternal City, says the silent Augusteum, one must always be prepared for riotous and endless waves of transformation.