My gelato skirt

GELATO1

When I was a teenager I had a tiered skirt that I loved. I thought of it today on a walk when I encountered the breeze of a rose and the memory flooded me. When I came to have this skirt it must have been the summer of my 16th or 17th year of life, in Cetona, and I remember that my legs were thin, muscular and tan, never showstoppers but pretty enough. I had loved the skirt in the window of my friend Antonella’s boutique, in the corner of the piazza where Marina now sells fruits and vegetables. I don’t remember how I came to have it, but probably Antonella gave it to me, as she often did with things I liked that no one would otherwise buy me. This skirt, short, a good bit above the knee but not scandalously so, had a tier in chocolate brown, a tier in white, and a tier in pink the color of Japanese cherry blossoms, the rose of a delicate spring bloom. The colors remind me still of gelato we bought on hot lazy summer afternoons at the Bar Sport, in the cradle of our town, sitting outside in the plastic chairs that cut into our legs and the jukebox playing Endless Love or Kiss on My List, and specifically lemon, strawberry, and chocolate, the winningest combination that Lillo would pile atop the cone precariously till it dripped and boys watched us lick it though we didn’t yet know why or pretended not to. I had taut leather white flats to go with my skirt — white flats that on the dirt road to my house I labored to keep white — and I remember my bony foot and skinny leg that perhaps for a moment, a single moment, I felt had no faults. They were, indeed perfect. Perhaps it was the daintiness of my skirt that made me feel that way, delicious as the ice cream I remember, flouncy and girly. I felt good and whole like simple color on fabric, untainted. When I put the skirt on with the white T-shirt I made sure was perfectly dried on the line in the sun and ironed straight from the laundry I felt supernaturally perfect like something had come together to make me the prettiest I could be, like I would never be again, even on a wedding day many years later. In fact, I was far from perfect — flat-chested and skinny, aware already of that which I did not have. Back then everyone made fun of me for everything I was not. Ma le pocce dove l’hai, they would say. Where are your teats? Yet, with my little white T-shirt hugging my bare flat belly and chest and my white flats, with my well-wrought arms and legs, empowered by the specialness of something lovely to wear that looked a lot like gelato, I felt good enough to move forward, well-equipped, shielded even from meanness in the folds of a skirt the color of strawberry and vanilla.

Copyright Sybil Fix@2016

Till Death Do Us Part: The Chicks and Me

Syb n Wings

The first word I spoke was Batman, which should have been enough to generate an appropriate and colorful nickname in the family, but Birdie is what stuck—for my relentless fluttering, it is said—and through the years it came to pair well with my love for winged beings. I am enchanted by their delicate charm, their quick, mysterious comings and goings, their enterprising, self-possessed lives, and their graceful, almost self-effacing way of inhabiting the world—if not for the burst of color and song and the unmistakable shot of happiness they provide solely by being. I wish we could be so gracious, us humans.

And so perhaps it was no surprise when some forty years later I decided to raise a flock of chickens, not for food—I am solid vegetarian—but for the experience of expanding myself into the universe. I wanted to rub skin with another species, the most foreign of all, the winged one, the one that pecks and has long scaly toes and those things called waddles. I wanted to understand them.

I ordered them on the phone from a poultry farm in mid-America, figuring I would save at least those eggs from an unhappy ending somewhere else. I had read up on species that were friendly to people and other animals, that got along with other breeds and fared well in South Carolina’s hot climate. I chose Rhode Island Reds, fiery red and full of personality; Plymouth Barred Rocks, with white feathers striped (or barred) with gray, of humble demeanor, and Black Australorps, big, black and all but humble. All traditional—single-combed and no feathered feet—but hearty, pretty, and kind. The company wouldn’t ship fewer than twenty-four because the chicks rely on their communal body heat to survive the trip in the box, so I ordered eight of each breed. Do you want males, the woman on the phone asked. I had read that most male chicks get thrown in meat shredders, which is one of the many reasons vegans are against the supply chain of eggs. Of course, I said, yes, I would love a couple of roosters. How could one exclude roosters when ordering chickens? Are they not part of the natural order of things?

They said the chicks would be shipped to the post office and to expect an early morning call a few days later. My boyfriend, Aram, and I waited for them like expectant parents and woke to a phone call at 5 a few mornings later. When we knocked at the back door of the post office in Charleston we were let into an entirely empty hall, cavernous and silent but for the tiny piuu, piuu piuu that we heard coming from the rear of the post office. A woman brought us a box no larger than ten by ten (inches!) and Aram carried it to the car with the care reserved for the transport of nuclear armaments.

The backyard chicken fad had not yet taken root to the extent it has since then, so I was a bit of an anxious pioneer in raising chickens as pets in Charleston. I had asked around a bit and read a good deal and found a farmer—a real farmer—who raised animals of various sorts. I paid him a visit and he offered advice together with a few pieces of equipment I would need for the birds’ care, including a brooder, a large metal cage that would be the chicks’ home for their first eight weeks of life. It was fall, so I set it up on two saw-horses in the laundry room, next to two electrical radiators, with two heat lamps overhead. A thermometer tied to the wall of the brooder monitored the warmth, which would be essential to the arriving birds. When we got home we ran to the brooder, placed the little box inside, under the heat of the lamps, and opened the top. The tiny birds, nothing more than puffs with legs and beaks, really, clustered all in one corner, but with the most delicate of hands we took them out, one by one. They had told us to dip each bird’s beak in the water and make sure they drank first thing. Then we showed them their food. Evidently the person who that previous evening had stuffed my box of barely hatched eggs had decided to throw in an extra few—perhaps because they rarely all make it—and from the box came twenty-seven chicks, one of them conspicuously white, unsolicited and a source of surprise and delight. After taking their long drink of water and pecking about at the food, the baby chicks huddled together under the heat of the lamps. They seemed spry and healthy, all but one, a little black chick who would not drink or eat and who eventually later that day curled up on one side of the brooder and died. It was the first in a long series of mournings I would experience in my life with the chicks, and to commemorate it I put him in a tiny Christmas ornament box from Tiffany and Co. and placed him at the back of the freezer. Every now and then over the following many years I would take him out and look at him, perfectly preserved, to remind myself of the frailty of his short life.

The first week I hovered over the chicks like a hen, monitoring the temperature and their behavior, watching mesmerized as the little puffs of feathers found their way around the brooder, began to socialize and peck one another, and grew. They pooped a lot, and increasingly so, and every day I pulled out the brooder’s newspaper-lined bottom full of poop and hauled it to the compost pile, heavier by the day. The farmer from whom I had sought advice had asked to split the flock with me, and initially I was open to the idea, but after a couple of weeks in their birds’ company, or theirs in mine, I decided I couldn’t possibly let go of half of them. By the time they were as big as full-grown cardinals I called to tell him I was going to keep them all.

“Don’t worry about it,” he said, sounding gruff and redneck, “most of ‘em won’t make it through the winter anyway.” He reminded me that the decision I had made to not vaccinate them or give them antibiotics would surely kill them in short order anyway, particularly if the weather grew rainy and cold, but he was wrong and I was elated when at the end of winter they were alive, all of them, perhaps because they were so deeply loved. By then the chicks were larger than big pigeons and they had moved into their coop, which Aram built thoughtfully and with flair, equipped with hatches and windows, see-through blue plastic walls, roosts of various heights and perfectly sized nesting boxes. The outer walls of the coop, which I painted turquoise and purple, with a bright green door, opened to a spacious run, the space where the chicks hung out when they were not free to roam the heavily vegetated marsh-front property on which I was lucky to live with my orange tabby cat, Joe. Properly exposed to sun and shade, the run protected them from predators and was full of toys and perches and sticks to climb and sit on, which they did while Joe, Aram and I watched curiously. I got them electric radiators to warm them on cold nights, fans to cool them in summer, and bales of straw that they pulled apart with boundless energy and curiosity in search for the tiniest of bugs. By the end of a day straw filled the coop with the wonderful smell of fields. I made sure the chicks had dry areas for dust baths and grit and calcium, and I bought them fresh fruit and collards and scratch.

The first chick to die at about six months was a Rhode Island Red. I was disappointed to find her keeled over in the coop, strong and big and seemingly healthy. I couldn’t understand why or how this had happened. It was my first taste of the well-masked and heartbreaking fragility of birds that over the years continued to find me woefully unprepared. When I sent her for the autopsy in Columbia, via FedEx in a cooler with dry ice—the first of many such experiences—the pathologist called and said she had died of fatty liver from too much food. Guilt gripped me; she was not even one year old, and it was my fault. I learned to rein in the joy I derived from watching them peck at an endless supply of scratch: no more scratch in summer, the doctor said! Regretfully, that hen died unnamed, but she was the first and the last to be recorded anonymously.

By the dawning of summer the chicks were fully grown and each one had begun to show the shimmer of individuality and had taken her or his place in the dynamic of the flock, both among the three breeds and within her own breed. By then I could tell them all apart and had found the inspiration for the names that would forever capture and identify their singular and unforgettable presences in my life—all twenty-five of them.

The black Australorps were the queens of the flock, distinguished by greater physical presence, glossy black feathers with glints of forest green and pink and dark blue, and round, dark brown eyes that communicated with me and in which I saw both a soul and goodness. They were tall and beautiful, all of them, and Bella reigned among them. She was the most regal hen in the flock and her name, meaning beautiful, came naturally. Then there were Assunta, Bianca and Beppa, who hung out like gossipy ladies and who I named after women on the street in the town where I grew up in Italy; Queenie, the most aloof and a bit haughty, with a tall and long crest, and Ellie, whose kind spirit shone through her eyes and left me longing for a common language between us. Rays was so named because at the center of her eyes were amber flecks that seemed to paint little suns and sun rays; she was a favorite of the roosters and her head was often nearly featherless. And then there was Cara, dear in Italian, so named because she was just that—my dearest. A medium-sized black chick, Cara distinguished herself for a quizzical, sweet expression in her brown eyes. She cooed softly around me like she was telling me stories and like I knew what she was talking about, or what she felt. She came to me and sought me out, for company, displaying a tender vulnerability that endeared her to me. She followed me obstinately if I wouldn’t pick her up and hug her above all others. She knew her name, unquestionably, and she trusted me. She had a special relationship with me which she cultivated stubbornly and with love, and by which I was won over and moved.

The Rhode Island Reds, with fiery auburn feathers tinged with red and flashing orange eyes, were the most daring and the most entertaining of the flock, perhaps because they had a funny way of running, very speedily with legs askew, or perhaps because they were the quickest. They seemed to always be the first to get a prize treat or to dig up a juicy worm after a rain storm, then running about to steal it from one another, chasing each other in circles, something they also did for lesser or no fare, like a piece of colored paper. They are playful, sociable creatures, chickens, entertained by the most curious of things. Rossa was the biggest red, and brilliant like fire; Fingers got her name from the remarkable multitude of little fingers on her crest, and Rami, too. Her crest reminded me of branches—rami in Italian—or antlers. La Parisienne got hers because her crest folded over onto itself to one side like a French painter’s beret, making her look inspired and eccentric. Wings, a compact, feisty chick, was so named because she became early on one of the roosters’ favorites, and at one point her wings, sadly battered by their talons, seemed to afflict her horribly, almost like a banner for her low station in life as a chicken, though I believe she looked noble and special. Often I had to shoo the roosters off of her to give her respite and healing.

A Rhode Island Red whose personality eluded me was finally named C.S. Lewis by my friend Tony. She reminded him of the author’s fantastical animals, and her name complimented her to the day she died at the vet’s many months later after a long and unexplained illness. Pesky, the last of the reds, was so named because she was boisterous and in your face, full of personality, traits so true she paid with her life. One afternoon while the chicks were out roaming a hawk landed on the property, and while the other hens went running for cover, Pesky, chest forward, orange eyes fluttering with curiosity, walked right up to the rapacious bird, as she would to anything at all. Before she could even begin to understand what she was doing, and before I could intervene, the hawk pecked her right in the head and killed her, straight out. She fell like stunned. I shooed the hawk away and carried Pesky’s little body inside. She died an innocent death, and much too early. I regretted it because she had a long and fun life to live, which I would have hoped to assure her. I learned that I could not assure anything. Hawks were, for sure, the greatest pest in having chickens. I was always on the lookout and on alert whenever the chicks were outside and roaming on my beautiful, lush property on the South Carolina marsh, which I wanted them to do as much as possible. They are creatures of great curiosity; they love to run and peck and explore and get in the bushes and dig big holes in which to roll around to clean their feathers and the skin under their wings. There is little that has given me as much simple satisfaction and joy as watching the chicks lie about in the dust with the sun on their faces, stretching out their wings and legs in the warmth, their happiness, their peace and safety unmistakable and deeply rewarding. One just knows when something is exactly the way it should be, the way it was meant to be, and it is undeniable.

The Barred Rocks hens, meanwhile, with their barred feathers and yellow beaks, were proper and reserved and kept a bit to themselves. Their eyes, yellow-green, conveyed a bit of superiority, and they reminded me of well-dressed and dignified British ladies at tea with the Queen. I named them Fergie, Abbey, Sarah and Victoria, and to be frank I couldn’t always tell them apart, especially later when they all became strong and broad-chested. Among the Barred Rocks the exception was a hen I called Little Girl, a name I chose because she suddenly ended up at the bottom of the pecking order and was nearly pecked to death and de-feathered. As I held her and sang for her after rescuing her from yet another pecking, I named her, for she was defenseless and small like a little girl, and she began to come to me to sit in my lap and be sung to. Ironically, later Little Girl came to look a lot like an old lady, grumpy and a bit angry, but her spirit, I think, remained intact, defenseless and childlike, as did her name.

The one unmistakable chick, the single white bird, was an Italian White Leghorn who soon emerged as a tall, skinny, boisterous, bossy rooster. To watch him was to watch a comical play on the stereotypes of Italian males: At his beck and call, literally, the hens lined up in quasi-military fashion, whereupon he strutted and flapped his wings and paraded up and down before them like they were his concubines, though they were not honored or flattered but rather terrified and stressed by his bossy manners. In honor of both his personality and his breed, we named him Benny, after Benito Mussolini, and we watched over his growth with humor mixed with alarm for he portended to not be an easy rooster to manage.

Alongside Benny another male, an Australorp, quickly manifested into a regal black rooster with soulful dark brown eyes, long, bright red waddles, and an important, elegant crest. His face was bright red, punctuated by a prominent black-and-gray beak. His feathers were thick, iridescent and velvety, and his legs were strong and long and dressed in what looked like elegant black pantaloons fit for a regal court. Because he was so noble and gentle, as opposed to Benny, I chose for him the name of Juan Carlos, the benevolent king, a name that quickly morphed into JC. The more he grew the more impressive JC became, not only in pure rooster beauty but in nobility of character, communicating with his hens in a dance of movement and sound that conveyed dominance through protectiveness and care rather than brute force. At dinnertime or treat-time he made a distinct clucking noise to call the chicks to food, letting them eat before he ever touched anything—even the best of treats, such as berries—and at bedtime, at dusk, he made scrupulous rounds of the property, circling any lollygagging hens with his widened wings to get them to return to the coop. JC and I had a rapturous relationship; he loved me and loved to have my attention, though surely genetically it was not what he was bred to tolerate. His pride as a rooster—his DNA—coerced him into making funny pecking motions when I approached, looking down at the ground as if to pretend he didn’t see me or didn’t care; but from his earliest days he surrendered to my attentions. He ran to me when I called, feathers and pantaloons flapping about, and he let me pick him up with ease. I’d pet him and hold him close to me, so close that we would rest his face against mine and close his eyes. I may be anthropomorphizing, I may be, but there are things we know and no one can dissuade me: JC was a creature of love. He felt love, no doubt, and hence he responded with love. He was magnificent.

Overall the Barred Rocks proved to be the calmest and most composed, and perhaps also the kindest, the Rhode Island Reds the most curious, upfront and feisty, and perhaps the friendliest, except for when the Black Australorps were friendly, in which case they were also the sweetest. The Black Australorps turned out also to be the sturdiest and heartiest. They bonded together better, it seemed, as if a code existed between them, which I liked to study and attempt to decode. Bella, Ellie and Queenie were inseparable, and I could tell they gained power both from their size and height and their bond. In the evenings I would pour a glass of wine and go outside to watch them in their run or sit in the coop and listen to their sleeping noises, their breathing and their cooing sounds—this after they had settled into their spots, the strongest taking their favorite places first—Bella always next to JC—and the others fitting where they were accepted. I’d watch, pained, as one chick would get kicked down over and over until she found the hen—lower on the totem pole than her perhaps—who would let her stay, who would let her sleep next to her. I was shocked to discover the literalness of the meaning of the term pecking order, at the top of which was Bella and the roosters, and at the bottom of which sat Rays and Wings and Little Girl, at least on and off. Sometimes it bruised me to watch it.

By then these little animals were becoming known to me and I couldn’t get enough of the excitement of exploration—getting to know the temperature of their toes and their waddles and the feeling of the skin under their wings, the skin that makes lovers of fried chicken or roasted chicken salivate in delight but that feels cool and soft to the tip of my fingers when the chicks are relaxed in my hands and feel loved. They love to be caressed under their wings. By then I had learned to hold them, and most of them would be held, and I learned that even the roosters like to have their heads massaged. When they feel safe they lean their faces against yours and close their eyes. I would hold their toes and examine their scales and nails and smell their heads. I cherished the warmth in my heart that the privilege of that intimacy provided me. It gave me a new and better place in the world.

When the chicks turned one I threw a party for them. It was an opportunity to celebrate and share the unexpected joy and fun that these animals had brought into my life, with no less pride and happiness than a parent throwing a party for a one-year-old child. While people stood outside sipping wine, the chicks ran around pecking at the grass and enjoying their freedom. People brought them grapes and corn and other presents and watched with delight the chicks’ funny way of running and scratching about. People love chickens when they really pay attention, though they don’t stop eating them, unfortunately. As guests were leaving I noticed a bloody chicken footprint on the porch. I followed a scant trail and as dusk approached I found her, a Barred Rock, under the steps leading up to the back porch. She was lying down and her pink face was pale and still. I examined her feet and found a small cut. I held her for a few minutes, caressing her soft feathers, then she entered the quick and violent convulsions that, I suddenly learned, announce death in a chicken—a last surge of life accompanied by a high-pitched screech. Then she stopped breathing, her head letting go, her yellow beak a tiny bit open. It was only after I laid her to rest that I saw all the many bloody footprints she had left behind; she had bled to death and gone into shock. It was my first loss, the first of many in the adventure of raising these creatures whose delicate health and body structure we have come to neglect or un-observe due to the animal’s underestimation or denigration—pick your favorite word—in our mainstream culture.

We gave Benny away the following fall, after we had had the flock a year. His tirades were miserable and the hens suffered his meanness. Wings had no feathers left, Rays either, and many other hens were withdrawn and not thriving. Phillip at the feed store on Johns Island said he would be happy to take a rooster; he promised to not boil it and to let it roam freely on his family’s property with others he owned. I delivered him and said goodbye. I can’t say I was broken up, but I felt responsible for this cartoon-like animal someone had serendipitously thrown in my box. Better a few years in the wild at Phillips’, I figure, than in the shredder.

After we gave Benny away, as if some genetic key had turned, two unnamed Barred Rock chicks I had tentatively called Diane and Lizzie, manifested as males. One morning I heard a poorly enunciated crow that was not JC’s, and then another. Suddenly there were three roosters again! I remember Aram and I standing watching in disbelief the twin Barred Rock roosters, suddenly tall and with fully feathered and majestic tails. I laughed and said we should call them Fred and Frank, names whose ordinariness in men seemed hilarious when applied to chickens, and that is who they became. Fred and Frank were identical, huge and steely, with bright orange eyes, but for a tiny difference in the spirit that colored their eyes —their personalities were different—and for a finger on Fred’s crest that looked like the funnel on Carnival’s cruise ships.

By then I had begun painting. I had started one day by painting my wedding shoes, pearl-colored, patent leather, by Bruno Magli. I wanted to honor them in the aftermath of divorce, before giving them away. Then I got the chicks, and my attention shifted to their wonder. I trained my eye to the dazzling colors of their feathers, the details of their faces, their eyes, their expressions and demeanors, each different, and their spirits, which spoke loudly to me. I saw things in my chicks; I saw their souls. I did portraits of regal JCs and feisty Franks and moody Little Girls; Fingers with her long-fingered crest, Bella and her beauty, entranced by the camera and always ready to be photographed, and Cara with her tenderness, a connection that felt personal to me. I would spend hours watching them, noticing the idiosyncrasies of each and the habits—how Rays and Little Girl, under constant assault by other hens, would go scratch about the grass farther away; how Wings came first to any call; and how some of them lived more subtle lives, though equally needy of affection. Rossa and Rami were among them; they inhabited the earth lightly, like those of us for whom life is heavy do—with less bombast and noise, hoping perhaps to get by unnoticed, making do with less. They are like us humans in many ways, I have come to understand, shaped as much by the pressures and pushes and pulls of the outside world as by our inner dimensions and proclivities. Rays, a black Australorpe with a kind and sweet disposition, might have been more sociable, perhaps, had she not been pinned down by the beak of a rooster until she had no more feathers on her head to give.

Frank and Fred, meanwhile, spent most of their waking hours chasing each other, strutting and fighting, their feisty, exuberant tails high in the wind, always bargaining with each other over who would dominate what around them. Sometimes they fought each other like competing cocks, twirling and spinning and butting their chests against each other in mid-air. Their rivalry was conspicuous and at times funny to watch, these two huge roosters with big orange eyes and dangerous talons going around and around in circles through the grass and around the property, but the stress between the males caused upheaval among the females, not to mention that there is not enough space in a household for three male egos, animal or human. JC sometimes intervened, too, taking sides with Frank against the more aggressive Fred who occasionally attacked me as well. When Phillip at the feed store said he would take another rooster I decided that Frank, JC and the flock would be better served if Fred were in the wild. Once again I packed Joe’s cat carrier and delivered him, not without a wave of chagrin. Nearly every time I went to the feed store I’d ask about them, and Phillip would tell me he had seen Benny and Fred a few days earlier or a week earlier, roaming around, happy and free. I always like to think of them that way.

Once Fred was gone JC and Frank settled into a comfortable sharing of leadership, Frank playing the more aggressive bad-cop role, and JC, living up to his name, making sure the girls got the food that was put out and rounding them up at night for bed. Right before dark I would find them on their roosts, jockeying for their positions and settling in, with JC and Frank among them, mumbling and getting them to settle down. In the morning before the break of dawn JC and Frank roused the marshes of Charleston with their crow, JC’s higher-pitched and rising through the octaves and the miles, and Frank’s lower and powerful enough to hurt your eardrums. If you put your hand in front of his beak you could feel the vibrations of the sound emanating from his puffed chest, full of animal pride and dignity. Sing it, Frankie, sing it, I’d say when I heard him in the afternoon, for Frank sang all day long, just to be in the world, his song resonating with the universal ohm of nature.

By then my world was filled by the chicks and their adventures, and their needs. I scheduled my day according to theirs, trying to balance their freedom and safety and free time with mine, which is what anyone who has taken responsibility for the care of animals must do. With chickens it is particularly onerous as they have predators from air and land, small and big, and in Charleston they seem to be particularly active: fox and weasels, raccoons and possums, haws and snakes. I have seen all of them and worked tirelessly to fend them off, to ensure that the chicks’ home was safe and predator-free and that they could enjoy as much time in the sunshine as possible. By then I had moved my painting into the living room, which was the room with most sun. The back door and windows opened onto the back yard and the marsh, and while I painted I could look out and see the chicks spread over the property, JC sunbathing with the hens, and Frank off doing his thing. Joe, who had known the chicks since they were little, had an easy coexistence with them and I dare say he liked them. He was always among them, lying about in the sun with them or watching them. Sometimes Frank would come up on the back steps and look in cockeyed through the panes of glass and sit there with Joe, like they were old friends talking. Frank was not affectionate like JC and it was hard to pick him up, but in his visits on the back steps there was a form of connection, and perhaps communication, too.

One day Aram and I went to an event out in the country up above Georgetown. Before going I had let Frank outside by himself because his crest had been pecked and it was bleeding, leading the chicks to peck on him more. On the way back it was quickly getting dark and I was concerned for Frank’s safety outside alone, unprotected. When we pulled up I ran to look for him—it was fully dark by then—and I found him perched on a window sill of the garage. I picked him up—chickens don’t see in the dark, hence they are defenseless—and it was then that I realized how thin and light he was, a big rooster in feathers alone. The following day I took him to the vet and it was quickly determined that he had parasites. The vet gave him antibiotics, but his downfall was so rapid that by dawn two days later he could not stand up. He lay keeled over on his chest, the weight in the upper part of his body more than his strength could balance. I was struck with grief and chagrin. I had not known to read the language of the animal who had stood before me on the porch steps feeling sick, and he had wasted away (I learned to read poop after that experience). The vet asked if I wanted to bring him in and I said no, that I would stay with Frank and escort him from this world. I knew it would not be long. On the back porch I pulled out two chairs and sat with my legs outstretched between them with Frank on a blanket on my lap. His head rested in the crook on my knees and his long legs and feet outstretched toward my stomach. What had once been an imposing, substantial bird was reduced to nothing but a thick cover of lustrous feathers. He lay defenseless, surrendered to the inevitability of death of which he was clearly conscious. As I sat with warm tears running down my face I rubbed slowly under his wings and sang to him, a lullaby of sorts, improvising the words to Frankie the Rooster in a variation on Frosty the Snowman.

Frankie the Rooster

Has the mightiest crow of all…

 

As I sang to him he closed his eyes and rested, sometimes so still I thought he was gone, but then his chest would heave and suddenly he’d open his eyes and look at me, and almost try to get up, as if he had somewhere to go, as if he had something to tend to that he had just remembered, but overwhelmed by his weakness he put his head back down and closed his eyes anew. Some five hours later during which I never got up, after a surge of wild energy ran through him and out again, Frank died in my arms, spent. Blood left his waddles and his crest, and his toes turned cold, and I hugged him to me, this feisty animal who had given me so much joy. It was heartbreaking, as was every death of a chick, and they started coming, oh, did they ever, beginning with Ellie, who died quickly after Frank, of yolk peritonitis, an infection. I took her to the vet, and she got antibiotics, but just not in time. I took her home and made her a bed of towels, and from her sick bed she looked me right in the eyes until I feel asleep alongside her and that final shock of life, that final surge of energy shot through her and a screech woke me to her death.

Frankie’s departure left JC in charge, and this rooster’s understanding of this event was immediate and nothing short of intelligent. He patrolled the chicks with fine-tuned diligence from dawn when he crowed to nighttime when I shut the door to the coop and I knew and he knew that they were safe. Shortly after, on a beautiful day I had let the chicks roam while I ran an errand, I came home to loud screeches of panic that shot through me even before I opened the car door. When I sprinted to the back of the house I realized that the chicks’ terror was such that they had flown out of the perimeter of the fencing to seek safety and they were clucking rhythmically and in unison from all around, announcing their alarm. I couldn’t see JC, which was bad news. I ran and called and finally I saw him under a tree, an old oak, semi-hidden by the fronds and branches draping low to the ground. I ran to him and saw that the source of the terror was a white owl with terrifying talons and immense wings. He stood nearly two feet tall and had piercing blue eyes. JC had the owl pinned with his back against the trunk of a tree and his brown eyes were flashing about. His wings stood slightly apart from his body; he was breathing frantically, his chest heaving up and down, and his beak was open in distress. I ran to get a pitchfork and climbed between the fronds of the tree and took over for JC, who stood down but didn’t go far.

I stood trembling, holding the pitchfork against the owl’s chest, adrenaline rushing through me. The owl’s wings lay flat and splayed open and his breathing was labored. I wanted to pierce through his white chest with the tines of the pitchfork to defend JC and my flock, but his crystalline eyes burned my soul. He was a protected bird, and a beautiful one, and one never kills a bird anyway. I would not, ever. I knew he knew that I had won, but I was afraid of letting up on the pitchfork, afraid that he would attack JC again or me. After several minutes of stillness, with my heartbeat flooding my head, I released the pitchfork with shaking hands and took a step backward, watching how he calculated his next move. Dazed, perhaps, and still breathing heavily, the owl got up and took a few tentative steps away from JC and out of the tree fronds. I watched his back as he moved into the clearing. He began to move faster until he spread his big wings and took flight and disappeared in the sky.

It took hours to corral all the chicks back into the cordoned side of the property and to get them calmed down. JC’s beak was torn and bleeding and he had lost some feathers in the fight, but he had done his job masterfully and he would recover well, from that at least. A few days later, unfortunately, I came home and when I let them out I noticed JC had an injured eye, red and swollen like a cherry. He had been pecked by a hen, I surmise. I took him to the vet and he gave medicine and ointments, but the eye never opened again. JC quickly adjusted to seeing and patrolling air and land and 360 degrees around him with one eye. He seemed to manage, but I realized that his duties had become suddenly onerous, a fact made worse a few weeks later by a leg injury that left him limping and practically one-legged. The vet said the leg was sprained and with time it would recover or not. It didn’t. JC looked like a valorous old pirate, and he adjusted but it felt unfair. He redoubled his efforts to keep his hens safe, no matter the effort or the fatigue, but he seemed beaten, humbled, somehow diminished, and at sundown, after rounding up the hens, he looked exhausted. As darkness filled the coop he closed his eye and his head fell forward. I felt grateful to be able to close the door and provide him safety so he could rest his tired wings.

Every night when I put the chicks up I petted each one and took a careful count, whispering their name and a number, making sure they were all there. By then they had all come into their own, inhabited by the spark of her own unique spirit—some with greater courage or audacity, like Wings, some with greater aloofness, like Queenie, and some still with greater tenderness, like Cara, my sweet dear, coming to me and jumping up on my lap. When I opened my hands and turned them palm upwards, Cara would put a foot on each palm and interlace her toes between my fingers, like holding hands. She’d stand there, looking out, seemingly satisfied by this contact as was I.

Eventually I had to leave that house and I moved the chicks to new digs on Edgewater Park, a little hamlet on an island a few minutes from downtown. The chicks liked it there. Aram built them a beautiful new coop, more compact and more efficient for me to clean and keep safe, and a nice run in the back, sunny in winter but heavily vegetated and cool in summer. At dusk they’d hop up into their coop and onto their roosts and I’d close the coop door behind them, leaving open the door to the run so they could enjoy the breezes. When I went to bed I’d go in and close the door to the run, too, so they could be safer from predators.

Yet, 2011 ended up being a fatal year for the chicks, both before and after the move. Fingers turned lethargic and feverish; she had fluid in her body, the vet said, and I had her put to sleep. Shortly after followed Rossa, a sturdy Rhode Island red, and C.S. Lewis, and Beppina, too; they had cancers or inflammations or infections, most all of them in their reproductive systems, overburdened by egg-laying they were not meant by nature to do. Their systems were worn out. I wanted to tell them all to stop laying eggs—that their worth to me was not in eggs but in love—but they are programmed by mankind, and recent genome sequencing of chickens shows this to be true. When they became sick I procrastinated putting them down, my reluctance reinforced by their stubborn way of concealing illness to protect themselves in the flock, but ultimately their feelings were undeniable. Little Girl, who hadn’t felt well in months but feigned health, followed. She had stopped filing her beak, which chickens do daily on stones and other hard surfaces, and it grew so long she could no longer eat until Aram and I cut it with fingernail clippers, but she still wouldn’t eat. Her nails grew long, too, and she just seemed to not want to live. I held bittersweet memories of how Little Girl had lived her life, bossed around by others, and I wanted her to live longer and better. I didn’t want it to end that way, but finally I took her, wrapped in a towel, and said goodbye. Then La Parisienne died too—I found her head-first in a nesting box, already dead—and then Sarah, one of the English tea ladies, also of unknown causes.

During the course of a short few months six hens died and the flock felt thinned out and strained, or perhaps that was just me projecting how I felt. Every time a chick got sick it was a run to the vet, a surge of guilt and powerlessness, and, cost aside, which was remarkable in itself, it tore me up. It had become all too clear to me that these beings our humanity thinks little of except for how well they will fry or roast are delicate and personable and that taking care of them requires a constant vigilance of which I had not enough. I was exhausted and broke and every night when I petted them goodnight the diminishing count weighed on me.

Then, suddenly JC became uncharacteristically aggressive and attacked me in the coop with all his might, twirling and thrusting himself against my legs. The first time it happened I was stunned—horrified and heartbroken, really. I went outside and cried. I couldn’t fathom this happening in this most beautiful and trusting relationship with this noble, docile bird. What had I done? What had happened to him? The vet said JC probably held us responsible for the disappearance of his girls, as if I were stealing them, and he was determined to protect those that were left. He said that perhaps it would pass, but it was summer and I had to be out of town for work. I couldn’t ask people to take care of the chicks with a menacing rooster. I waited a couple of weeks but he attacked every time a person got near and I concluded that I had to give him away.

Phillip offered to take him. On the chosen day I picked JC up and hugged him to me for the last time. He leaned his warm face against mine and closed his eye. I caressed his face and felt the sturdiness of his body against my arms. I put him in Joe’s carrier and as I drove I rationalized this decision that I hated with all my heart. I took watermelon for him and when I left him he was looking down and pecking away at his watermelon, like he was pretending he didn’t know what was going on, and I will never forget the gleam in his black feathers and how his one brown eye followed me as I walked away, leaving him, though he pretended to not look. I have no doubt of the love in that eye, and he knew it was goodbye. For months afterwards—years have since flown by—I would ask Phillip if he had seen the roosters, JC in particular, and he said yes, sometimes at his uncle’s house, and sometimes at his dad’s. But recently I saw Phillip at the grocery store and when I asked if he ever saw the roosters his eyes left mine. He looked down the aisle and down into his cart and shook his head. In my care JC could have been alive today; in the wild, I doubt he is. I will always think of JC as the magical rooster from a fairy tale in which I was privileged to play a minor part. JC was the hero, and an extraordinary rooster.

After JC’s departure the chikkie’s world felt changed, deprived of some kind of wonder, at least for me. As for them, their dynamic shifted again—Bella took a more dominant role—but they seemed relaxed and at ease and perhaps stronger. The remaining thirteen got along well; they had their routines, a peaceful pecking order, it seemed, and even Rays regrew feathers on her head. They spent their days in the sun and running in the grass and pecking in the bushes, and when it rained they got under the porch and climbed up on my painting table and sat around on my paints, waiting for it to stop. Surrounding them on the walls of the back porch were my paintings of them, large unstretched canvases portraying them in the most fantastical of colors. I always wondered if they could make out the images of themselves to see what starlets they were in my world.

Once a magazine in Charleston contacted me for an interview on backyard chickens. By then the fad had caught on fully, and since I’d been one of the first to have them they wanted to take pictures. A photographer came out; he had in mind a portrait of a single chicken, and I chose Wings. She was courageous and flirty and photogenic. When the photographer laid out a white drape for her to stand on she took center stage as if she were on the red carpet, an Oscar nominee. She pranced and posed under the flashing lights—I sense she knew it was an important occasion—and she didn’t even poop on the drape, which I was sure she was going to do. She was featured on the cover of the magazine, and her pride was manifest. Wings was funny; she would follow me around and peck at my toes until I picked her up and held her and rubbed under her wings. When I went into the coop to get the eggs she would follow me—in spite of my efforts at inconspicuousness—and talk to me the whole time. By then I had stopped eating the chicks’ eggs. I couldn’t make myself anymore; I couldn’t ignore their awareness, indisputable, of the fact that I was taking something that was theirs. I felt guilty, like I was stealing, which I was.

The next year thinned the flock further, though by then the chicks were five years old and, as odds for chickens go, they were doing pretty well. The vet, who was an exotic animal and avian specialist, said it was to be expected: the chicks were not built for the constant egg-laying or, in the wild, long lives. Abbey, another barred rock, a very reserved but affectionate hen, got sick. She had been pecked in the back and had lost a lot of feathers on her behind. One morning she wouldn’t get out of a nesting box and when I pulled her out I realized her temperature was very high. When I looked at her behind—a chicken’s butt tells all sorts of things—I was horrified to find it swarming with maggots. Evidently she had had a wound and a fly had laid an egg in it. Wincing with disgust I tried to wash her off with a hose, and Abbey just looked at me meekly and quietly, her yellow eyes subdued in her pale pink face. Vanquished, I wrapped her in a towel and put her in a box and took her downtown to the vet. I showed them and they shook their heads. By then my chicks were like regular patients there, but I had no money for medical care anymore. I had no more money for autopsies and treatments, and she had to be put down. Abbey looked at me. I caressed her head. I am sorry, I said. It felt like I had said it so many times, and each time it felt hollower and more helpless.

Meanwhile Rami, the Rhode Island Red with a comb that looked like disorderly twigs, took to theatrical antics to get my attention. Most likely she wasn’t feeling well, and perhaps the other hens were bothering her, but she took to playing dead. The first time she did it she scared me half to death: I opened the coop one morning and found her lying there like she was dead. I picked her up, and after letting the other chicks into the run, I took Rami outside with me. I put her on the grass and after a few seconds she opened her eyes, wiggled herself onto her feet and started pecking around normally, as if nothing had happened. I let her spend the day outside by herself and she seemed fine. A few days later she did the same thing, and then again, until she learned that this playing dead act earned her full days of freedom away from the others, and perhaps that is what she needed. Until then Rami had just blended in with the flock, undistinguished by any particular trait or behavior, and this sudden shift got my attention. Her ingenuity—her display of intelligence—endeared her to me suddenly and I realized her vulnerability and sweetness. I let her out every day, at least for a little while, and she loved it.

One evening a couple of months later when I was putting up the chicks I realized Rami was missing. It was dusk and I couldn’t find her anywhere. Her little frame was simply not there. The following morning I looked again, all over the property, and finally I found bones under the coop—her hip bone and leg bones half hidden in sand. That was it, a couple of bones, cleaned like chicken bones at Sunday dinner. I sat in the dirt and held the bones in my palms and looked around. It was then that I realized that the feathers strewn all over the run were hers—not from hens fighting. I also found a small hole dug under the run’s foundation. I realized that Rami had been missing the whole previous day and that she had been likely killed at bedtime the previous night, probably during the window of time between them going to bed and me going to bed and closing the door of the run. The animal, a weasel, likely, snatched her up, the lowest on the pecking order, the first near the door, and sick.

Few experiences have left me feeling as powerless and wracked with regret. I had just got to know Rami, to notice her, really, to connect with her, and I had failed to protect her, probably at her weakest. That stung because by then I thought I had learned about predators and seen them face to face. I had followed red fox and written stories about them; I had trapped raccoons and possums and relocated dozens; I had fought with hawks and owls, and I had pulled 8-foot snakes out of the coop with my bare hands, screaming like a madwoman from the horror of feeling this odd thing between my hands that everything instinctual told me I should not hold. Finding snakes dangling inside the coop door in the semi-darkness or finding them rolled up eating eggs in the nesting boxes was not my preferred experience, for sure; it was unnerving as hell. But so was coaxing eggs out of Cara’s cloaca, at least the first time. She had begun to get eggs stuck inside her and she needed help to deliver them or she would die. I knew when she was in distress: She’d go into a nesting box, pant and turn around in a circle and sit down; then she’d come out again panting, her cloaca pulsing but no egg. She’d come stand right in front of me and look at me until I understood. I learned to take her under one arm, pour olive oil into her cloaca with the other hand, and with a couple of fingers inserted inside her, slowly slide the egg out. Cara was thrilled to be free of it, and she’s show me by running through the grass like a kid. I knew.

The snakes, maggots, Cara’s toes and stuck eggs all knocked down my innermost and most primordial preconceptions of difference between species and expanded the vocabulary of my love. They helped me overcome the limits of my humanity—my petulant, capricious squeamishness—and expanded the boundaries of my senses into the temperature and feel of their toes and the smell of their wings in the sun. I tore down the walls of my self. I could be them; I could be a bird. I am a bird.

When the chicks were five I decided I needed to do something I had wanted to do all my life—to go back to Italy for a year, to the town where I grew up—and this would require me to put my belongings in storage and leave everything behind, including Joe, my cat, and the chicks. It was an epic interior battle for me to put this project ahead of the chicks—to put myself ahead of them. To rescue my life from theirs, in a way. Looking for someone to take chickens is different from looking for someone to take a dog; few people have chickens, most people don’t understand their nature or the required care, and I was picky. How much space would they have? Would they be free to roam? Would they give them scratch and rub them under their wings?

A plantation in Charleston agreed to take them and I thought it would be the perfect place. They had land and freedom. I took them in boxes, at sunset, so the night would help settle them with the resident chickens. Leaving them was unimaginably difficult. I was wracked by regret and guilt and love. I was lovesick. After they were gone I spent many hours sitting alone in their coop. I smelled the grassy straw and the dust of their feathers and felt the rays of sun that crossed their coop lengthwise at sunset when they never wanted to go to bed, when they clung to the last minute of light, like people in summer, like the eternal kids who never want to rest. I thought of the children I would never have, the love that fills me that I would never be able to spread. I smelled the earth and listened to the silence, the absence of their cooing and pecking and bickering. Their fans stood quiet, dust on the still blades and the dangling cords, and their feeders and bowls abandoned. Their departure summoned my most bittersweet longings about life and love and the passing of time and this yearning of ours—of mine—to leave something behind, to take off our loneliness like an uncomfortable piece of clothing and to feel connected, forever, ever more. I wanted to lie down in the coop and die.

I realized that my life with the chicks had spun what I had sought—tenuous, miraculous weavings, embodiments of the invincible opportunity for connection that life offers between us all, like a giant spider web. They extended me into universality and filled my longing to be one with other beings and other species. We are one—if we let the oneness happen.

The plantation turned out to not be perfect after all. The chicks were too free, and too alone. No one paid them any attention. Victoria died the first day—she keeled over, surrounded by the resident chickens—and Bella a week later. I went up to see them and her absence snuck up on me like a wave of nausea and I wanted to be sick. Staff said they found her lying there in the yard of the plantation where the tourists walk about. Of stress, I know. Heartbreak. I had never imagined that, of all of them, Bella the indomitable would die like that, alone and scared, and I regret that I didn’t get to bury her, or Victoria either. They “disposed” of them. Victoria was the last of the Barred Rocks and the last of the little British ladies club.

I smile thinking of the immensity and color with which those little birds filled my life; yet the memory of each holds an intense spasm of regret, for, for every joyful attachment and loving connection, there is separation and eventually death, sometimes avoidable. Their little faces parade before me, twenty-seven encounters, and twenty-seven losses. Twenty-seven slices of my heart.

Before going to Italy I rescued the remaining chicks back from the plantation and drove them to the house of a friend, Willis, who offered at the last minute to take them in. Six of the chicks, now seven years old, are still alive—Wings, Cara, Rays, Ellie, Queenie, and Bianca—and the other day I went to see them at Willis’ house. I hadn’t seen them in eighteen months. I called for them as I usually did—Chik-chik-chikkies!!—and they came running. Do they remember me, as we define memory? I don’t know. If birds are able to migrate to the same spot every year in the wild, why would my chicks not remember me? They know safety, and they remember that. They know love, and for sure they remember love. We all remember love. Cara came to me and cooed. She looked me in the eyes. I picked her up and rubbed under her wings, then she curled her toes between my fingers and rested her face against mine.

 

***

 

 

SEEKING PEACE for an Animal of Great Beauty

Zebra-Eye-24x36-animal

I walked on King Street for a minute last evening, enjoying the celebration of spring. The sky was soft and pink and the light was sweet, presaging the long days ahead and the longing of summer. As I walked up, about to reach Monza and the music filtering out of the doors of Closed for Business, I happened to gaze in a window display where lay dozens of handbags. I had to look closer to see that the bags were made of striped horse-like fur, coarse and bristly and lively had it been on the back of a zebra on the plains of Africa. It was a jolt to the senses to realize that, in fact, they were zebra skin, a piece of animal I am used to seeing in pictures and videos of Africa but that had been laid out here before me in surreal fashion, on top of a full zebra skin to boot. It was like being in front of a fur store, of which fortunately there are nearly none left in this country, for most people, most civilized people, most compassionate people, have come to understand that fur is not cool. And purses and handbags made out of zebra are not cool either, and I found it particularly jolting because the store, which is also part spa and yoga center (proof that yoga, almost proportionally to its proliferation, has come to mean nothing, least of all oneness), touts itself as something spiritually meaningful, related to healing and discovery. Shopping with a conscience. Knowing that what you put on your body gives back to the community. Product with a purpose. Make sure you are conscious of what you are wearing, what it means. That’s the store’s philosophy.

So I was amazed to stare into the store windows and see handbags made out of animals that are supposed to be standing in the savannas of Africa—animals that children here see only in zoos and, well, now, on handbags in Charleston. The beautiful purses display the wide array of magical stripings with which zebras are born, each distinct like our own fingerprints, which they use to distinguish themselves from others and to camouflage themselves and protect themselves in plays of movement in the tall grasses of their environment (although I suspect that these zebras are raised in captivity for various purposes). The stripings, black with white and black with beige, look like supernatural drawings that a man in ecstasy might have drawn but in fact only in nature can be found in such simple, playful and masterful symmetry, which is what draws our eye and heart to them, and, well, in this case, our guns and knives. Several of the handbags included parts of the zebra’s mane—I guess so you can showcase the animal more fully? Perhaps they could dangle a piece of ear with it?—and some even the skin of the face, with the tighter and shorter striping leading towards the eyes. One appeared to be made out of a very small zebra, and I can picture a man saying, oh, that’s too bad, the baby died, too. Maybe the zebra was pregnant and the baby was pulled out and made into a bag. It‘s amazing how much the universe will support your journey, a store promotional video says—what, when you shoot zebras? Global soul. A wellness component. Finding yourself. What the world has to offer. Serenity.

All in a zebra-skin bag.

The company that makes the bags (or pays people to make the bags), whose motto is We Make No Apologies for Luxury (which alone is enough to write a treatise on vapid thinking), produces equally fine brochures to explain and justify its place and endeavors in the world, just in case, while you stand looking dreamily at the handbags and consider purchasing one, something inside you begins to squirm—and, oh, you know it will unless you are brain-dead. As your brain starts sending pesky, discomforting questions about the provenance of this piece of animal you are looking to purchase and considering how great it will make you look, the company materials quickly swoop in, take your hand and help appease your conscience, just in time to make the purchase of a zebra bag feel all right. After all, you need not apologize for luxury! The brochures are laid out behind the display on some kind of little ledge and framed by swatches of zebra hair of different stripings, which I guess you can touch as if you were looking for carpet or paint chips. The company brochure explains that the zebras are killed (I don’t think they use that word—harvested or sourced, perhaps?) with care and concern for the integrity of the environment; that the company would never do anything to unbalance the delicate nature of the ecosystem of Africa—and you know that they stayed up nights worrying about this!—and so they harvest only from the best of the best—local and sustainable! Plus, the company says, they make sure that they leave nothing unused—first hair to last!—and make money from even the smallest of scraps which, fashioned as a zebra-skin bracelet (sorry, kudu bangles!) you can purchase for a couple hundred dollars. (This—the “using everything” line—is, by the way, the new triviality put out by restaurants and nearly every industry in America as if they were living like impoverished farmers in post-war Europe. Like Americans could suddenly give a shit about being wasteful or about using the ears or snout of a dead pig other than deriving the slimmest form of sense of charity and massaging an already completely indefensible and bankrupt conscience.) Again, it is intellectual mediocrity at its best.

The brochure does not mention that, yes, the zebra-skin industry is created to satisfy a fancy, a capriccio, as the Italians say, of the West, and exploits and perpetrates an economy that thrives on our takings and devastation and exploitation, because that is what suits us about Africa, and plus, who cares, Africa is so far away and, oh yes, don’t black people live there? Yes, people have always hunted in Africa, that’s true; they were trackers and hunter-gatherers. But that was for them—for their survival. Now it is for us, for the people shopping on King Street. They are different things, and to continue to parallel the two is to be plainly ignorant of fact. We use such parallels to soothe our own consciences and shore up argumentations that are rendered limp and soft by want and greed. It’s plain bullshit.

The company’s website says that the founder was so moved by Africa that he or she could not but be inspired to create timeless accessories that honor Africa and the cycles of life there. She was so filled by the love of life in Africa that she immediately summoned people to kill zebras for purses. The site says—and I can barely refrain from laughing, or crying—that each bag is handmade to tell the story of the animal’s life in the wild. It’s (sic) struggles. It’s (sic) triumphs. These elegantly rugged bags allow that animal’s unique story to live on. Carrying these bags honors the soul and beauty of these stunning creatures. Are you kidding me? At least do not insult whatever is left of our intelligence. I wonder if the bags come with pictures of the animal killed for the skin, like when you adopt an animal through WWF, except this donation would be for their spirit.

Would you like to see the bags, a woman asks me. I ignore her. I want to pet the zebras and wish life back into them, that they might stand up here in this store and knock down all the shit in the window and kill everybody in the store, but zebras are not violent. They are like horses, more or less. They live in tribes, in families, and are docile. No, I do not want to see the bags any more closely than I have to. As I am looking at the bags and reading the literature about the harvesting of the zebras taken to make these bags the sound of water trickling in a fountain—from Indonesia maybe, or India!—attempts to appease my senses and make me feel as if I were in a place of healing, of harmony. Dead zebras. King Street. Harmony. Mmm. Should I do a handstand?

At the conclusion of the PR bullshit justifying its products and the provenance of the zebras (who, I wonder, accepts money to write that shit, and how much do they get paid?), the brochure, like throwing in a nuanced coda, adds that, by the way, the zebras from which the bags are made are designated animals of Least Concern (LC), which means that if you are wealthy and you want a zebra bag, you should not worry your pretty head about the wellbeing or death of the zebras because they don’t matter. They make no difference in the greater scheme of evolutionary biology. As species come and go, they are of LEAST CONCERN (though there are zebra subspecies that are now endangered from hunting). From a bureaucrat’s perspective, that means they are insignificant enough or numerous enough or unimportant enough that, well, who cares whose skin it is and if they died for it? As if they didn’t suffer, they didn’t bleed, they didn’t love to run in the savannas and live the life granted to them by nature with their companions and their offspring. So, thinking about the LC designation, which purportedly justifies, if not encourages us to kill zebras for skin, I am thinking, could we not make bags out of cats and dogs? Would that not be appealing? The millions of cats and dogs that populate the streets of the world and the shelters here in the United States, the thousands I see while I look through pictures of lost cats and dogs seeking my lost cat, Joe? Are they not animals of Least Concern merely by the fact that they are abandoned or lost and sitting in shelters by the thousands that we cannot save or feed? What a missed opportunity to make a buck! And what about tigers and lions? They are not on the Least Concern list—they are higher up in the conservation hierarchy—but they are not endangered. They are huntable, and they are hunted, still, in what is a practice that, no matter how the complex arguments on tribal economics in Africa set out to justify it, should, here, in this country, be considered repellent, revolting, stomach-turning, disgusting and unacceptable. Yet, there are people—mostly Americans, though surely Europeans have done their fair share—who pay hundreds of thousands of dollars to go shoot a defenseless and gorgeous animal halfway across the world. I am always stunned to know that those people have friends—spouses, even, and lovers—people who make love to them, who caress them and sleep with them at night or share a dinner table with them. I think that sharing a dinner table with them would make me vomit, and sharing a bad with them would make me flee to the darkest corner of the planet. Once I was at a Thanksgiving dinner seated next to a woman who started telling me about someone going on a big-game hunt in Africa and killing an elephant. I sat transfixed by horror, almost not grasping the fact that the person sitting next to me actually knew someone who would do that. What kind of person in 2012 or 2011 (or whatever year it was), I asked the woman, what kind of person would shoot an elephant? My husband, she said, smiling. There you have it, I said: it’s bad enough that you’re married to him, I said, and worse that you seem proud. Thanksgiving dinner was over for me, and perhaps Thanksgiving, too.

So, back to our furs, why not have bags made with lion fur, or tiger, or how about whale—could we use whale skin?—so some self-important person can sit at some insignificant but self-important bar on Upper King Street in insignificant but self-important Charleston and show off their piece of wilderness, like somehow that piece of lion or zebra shines increased worth on them, increased valor or importance—the owner of a piece of skin from an animal of Least Concern in a land far away of which we know nothing about. Do people, really, not understand the wonder of thousands of people traveling every year—and many more yearning to do so—to the lost lands of Africa to merely get a glimpse of these glorious, magnificent animals? Does it not dawn on you, store owner, company owner, that these animals are or should be of concern to humanity merely because of the beauty and fascination with which nature endowed them? Do the eyes of zebras—those magical, perfect stripes—not humble you onto your knees and into stillness and silence? Does it not dawn on you that our shared presence on the planet—our presence in theirs—is a sacred privilege that we should hold dear and endeavor to protect, to earn? Concern comes from the heart—not from a bureaucratic designation that people use to justify shooting. What about giraffes—oh, and monkeys!! There are plenty of monkeys on the Least Concern list! Perhaps some monkey skulls as incense holders, or more handbags? Or monkey belts?

Man stops at nothing, it seems, to take, to appropriate whatever in our perversity we think embellishes us or confirms our importance and place in the world. Will we stop at nothing to caress our egos, to masturbate our vanity, our sense of power—the power to exploit those weaker than us? Our specism must stop. Would I find ivory in your store if elephants returned to be animals of Least Concern—by population statistics alone—and suddenly it were OK to chop their tusks off their faces and leave them for bush meat with their babies crying alongside them? Maybe an ivory dildo, for greater spiritual enhancement? It is not bureaucratic designation that gives sanctity to life, but rather nature—the unity of one—that gives beauty a right to exist in this world and us a privilege to enjoy it. To make money from the suffering and weakness of others, be they animals or people, is exploitation, and there are no pretty words or pieces of luxury PR to make it be anything else.

I wish to revise the list of animals of Least Concern and put humans at the top, as the most harvestable. I want to rank first those with the most money who have the least compassion, then those who are willing to rank so called lower species as something they can take for their own greed and empowerment at the disadvantage of the rest of the people. Those who exploit and take from our universe are next. Are you, owner of that store, sales clerk in that store, not a person of Least Concern? For sure on the planet there are too many of us—and too many who take, too many who don’t give a shit about anything, too many who are thoughtless and greedy and plain stupid. Too many whose comings and goings on the planet will make no difference in the greater evolutionary picture. I say that qualifies you as a person of Least Concern. I say, let’s make some handbags.

Copyright Sybil Fix @2015

 

 

 

Sometimes I Don’t Know Is Good Enough

The view of Cetona from Sarteano

The view of Cetona from Sarteano

Today my day was marred by clouds of heavy doubt about my writing and my painting as well as troublesome and pesky questions about my future. To shake it off I decided to take a walk to Sarteano, a town about 5K uphill from Cetona.

A little medieval hill town much like Cetona but with a big camping clientele, far more sprawl, and a more industrious, less insular population, Sarteano has long been home to many friends  and (ex)-boyfriends of mine, and indeed there were months in my teens where I spent more awake time in Sarteano than in Cetona. The two towns have a long history of acerbic rivalry, and up through our adolescence, various groups of guys from each of the towns would fight each other over girlfriends and other matters like they were stuck in the Dark Ages. This used to happen particularly at night and particularly in dancing venues like La Bussola, in Chianciano, where we went dancing on weekends. They would line up against opposing walls, staring at each other, and something would spark, like, who threw a cigarette butt my way, or who looked at me cross. Or someone would walk straight up to someone’s face and punch him, accusing him of something lame like looking at him wrong. M’ha guardato male. Che cazzo vole? He looked at me wrong. What the fuck does he want? That would get them going, maybe starting with two, then more would join the fray and finally it would be a huge pile of guys punching on each other while we girls ran off and eventually home. Yes, much to my embarrassment, some of those people I dated, and much like me, I am sure they have changed.

In any case, the road to Sarteano is well-travelled for me, though strangely I have not been there since I have been back on this trip, in part, I guess, because I am on foot. Today I decided to make good on that.

The countryside between Cetona and Sarteano is some of the most beautiful in the area, an expanse of terraces of moss green grass and olive trees that opens wider and wider the farther up you climb. The road consists of a hairpin curve after another, and as you turn them one at a time you look back behind you to see Cetona grow smaller and smaller and the countryside in between more and more verdant and gorgeous.

On my way up I passed several houses that were playgrounds to me when I was little and homes to good friends of my parents. My friends Flavia and Arabella lived with their parents, Anna and Decimo, on the bottom floor of a big villa owned by a British colonel. Story goes that Decimo met the Colonel, whose name now escapes me, in Rome, when he was a starving little boy, at Liberation, after WWII. The Colonel rescued him from poverty and Decimo went on to work for him, When we met them he was caretaker of his property, together with two Malaysians who mostly cooked for him. I think the Colonel had met them in Malaysia and brought them back with him to England. In any case, Flavia, Arabella, and I spent years’ worth of afternoons playing together on the Colonel’s property, having fun, eating dinners of pasta malesiana together with our parents, and growing, slowly. The Colonel is now dead, and I peered through the edges of the imposing gate that now protects his old home—I don’t know who the owners are—trying to revive an old memory of the house; then I walked to the gate of a house just slightly uphill that belonged to the Colonel’s sister, Nika, and her husband, Sir Jack. Nika and Jack were some of my parents’ best friends—they spent summers in Cetona and holidays, then finally retired there. And like so many others, are now gone. I am constantly reminded these days, as I have been through the years, but particularly now, of how much I miss the friends of my parents, some of whom grew to be closer to me in time than to them. I miss them all very much, and more pointedly here, their ghosts alive and calling and waving from these hills and houses.

On my way up to the road to Sarteano I also passed several old abandoned farmhouses, a few right off the road, a few others a little way off amidst overgrown and abandoned fields. I always find myself following the little roads with my eyes to see the old houses and to imagine the possibilities—to dream, to imagine what might be, what I would do with them. It is my private yarn to do so ever since my parents sold our house in Cetona in the early nineties, a victim of divorce. It is accurate to say that it was the most devastating loss of my life, the most heartbreaking event. The first summer I returned home to this town where I actually no longer had a home, at the age of 26, I was sick with crazy pain, as if I had been yanked up by the roots or by my umbilical cord and laid out naked on the pavement in front of a door that I could no longer unlock. It took me years to recover, if I have, and I will always, I guess, dream of having a home, a house of mine, here, though I realize that certainly nothing would ever be the same about that, either. So I look, I imagine, then I go on.

Right before reaching the town of Sarteano, the road levels off onto a straight stretch that has become the Sarteano Auto Mile. I turned around and headed back to Cetona the way I came, looking down, as I walked, onto Cetona and the valley, now in a warm afternoon light. On my way I was lucky to pass Il Vallone as someone, a caretaker I guess, was coming out of the gate in a car. The Vallone is a stunning villa the color of the purest golden ochre that sits perched on a clearing overlooking Cetona and, below, the valley all the way to the autostrada and beyond. Its position gives it an unhindered view of the countryside and, conversely, gives travelers an unimpeded view of the house, which in late afternoon catches the glorious golden sunlight transforming it into a burst of flaming yellow atop cascading emerald green terraces. In the afternoon the house can be seen for miles. When I was growing up the Vallone belonged to a gay couple (which at the time was somewhat of a deal but not much) who were in my parents’ larger social circle, but I have not been on the property in years, and now that I paint I wanted to see the house’s color up-close in the afternoon light. As the caretaker or maid pulled away in her car, I approached to look down the driveway and the gate stayed open. Wondering whether I would get in trouble, I ventured down the driveway and when I got to the house I called out to see if anyone was there. A caretaker, a man, came out of a shed and asked if he knew me. I explained that I wanted to take a picture of the house, and he was delighted. He told me what had happened to the house in the intervening years—he has worked there for nearly twenty—down to today; the current owner, an elderly British woman who is recently widowed, wants to sell it again. The house badly needs a coat of paint, and new shutters. He walked me to the gate as the sun reached its lowest point before tucking behind Monte Cetona, and we stood for a minute in the warm sunlight. The house was like an apricot on fire, and the green grass like sparkling emeralds.

It was the kind of sensory joy that can uplift even the most troubled, and certainly can suffice to disperse existential questions the answers to which we simply do not have. Sometimes I don’t know is good enough.

Sybil Fix©2014

Winter Memories

To Le Piazze

To Le Piazze

On a recent evening I drove to Le Piazze to buy some wine from a local winemaker, la Cantina Gentili.

Le Piazze is a frazione of Cetona, a separate town in the same municipality, eight or so kilometers away by a curvy and narrow road. It has been cold and rainy here, and indeed, it was pouring and windy. I considered choosing a different day to make the drive, but I wanted a break from writing. My friends are working, and I like to set out by myself and go places.

I had not been to Le Piazze in a long time—and indeed, I have not been in Cetona at this time of year in many, many years. I have missed the turning of the leaves, the wintery rain, the smell of firewood, the dark drives. Living in tropical Charleston now, used to the sultry heat and a closet nearly devoid of winter clothes, it has been easy for me to say to myself that I don’t like the cold, that Cetona in winter is miserable and lonely, that I don’t miss that. It closes the door on a time of discomfort, perhaps; indeed our house was damp and unpleasant in winter, and I don’t miss that. But at some level, as I have discovered in the past few weeks, it is not true.

It was nearly dark when I set out from Cetona, but not entirely. I could make out the outline of the countryside around me as I drove the winding, curvy road, and I could make out the hills and the cypress trees on the farther horizon. Rising above me, Monte Cetona was covered in dark clouds, and around me trees were blowing.

Some old song came on, some Italian pop song. I was driving carefully, studying the road, when a peaceful feeling settled over me. I realized how familiar the road was, how it still is. How I know the cut of each curve, where to upshift and downshift, where the curve might throw you off. I suddenly remembered how, when I first came to the States for college, at night when I was homesick I would lie in bed and drive the road to Le Piazze in my mind, rounding each curve carefully, recalling exactly its degree of ascent or descent, shifting as the car did, or the bus, as if the road right there in my mind could take me back home from New Haven to Cetona. I did the same for the road that goes from Cetona to Montepulciano, which I traveled for five years every day by bus to go to the liceo. Lying in bed I would revisit the bus stops, who got on or off where, on which curve, revisiting their faces, their names. I remembered the image of a similar road in the dark, from Sarteano to Cetona, lit by the headlights, in the winter, in the rain, when an old boyfriend would drive me home, in the early evening, so I could make curfew and finish my homework. He drove a little forest green Mini and you felt like you were sitting directly on the ground.

On my drive to Le Piazze I remembered a jacket I owned once, a burgundy jacket, that my parents had bought me for the winter. It was not a great jacket, it was not particularly warm or nice looking, but I liked it, I needed a new jacket, and my parents, who did not have a lot of money, bought it for me. We settled on that jacket as a compromise in a world of expensive leather that my parents could not afford and puffy jackets that were in vogue then but that I did not like. I was proud of my new jacket until I wore it out to the piazza and my then boyfriend, who was five years older than me, wearing his heavy gray leather jacket tied at the waist, smug and superior, said, Ma che giacca e` cotesta? What kind of jacket is that? I felt so sad and inadequate.

Driving on the rainy road back from Le Piazze I remembered when Alessandra and I were best friends, when we were fifteen or sixteen, we would go to the back room of the Bar Cavour to play cards and smoke cigarettes. There was no other place to go when it was cold and rainy and the Bar Sport, which was nicer and much more welcoming, was closed. In Cetona there was no movie theater, no library, nothing. But we found things to do, not all edifying, not all exciting, but they got us through the winter. I read a lot too, and studied, and loved to walk in the woods, but I loved my friends. I adored my friends, and my entire inner world was colored by them and their company. Every moment I could spend with them, whether it was Alessandra at that time, or Francesca later, or Lucia or Fabiola or Patrizia, it was a gift, they were all a gift. I stole my moments away every afternoon after I finished my homework and I walked up our road, Via Sobborgo, no matter what weather, and found my friends. In the rain and the cold Via Sobborgo was dreary and dark, and on weekends, when I stayed out later, I favored a street that went through the town. Every chimney in town bellowed smoke and the smell of firewood pervaded everything. I have missed that smell, and when I occasionally have smelled it in Charleston over the years it has stopped me in my tracks and put me right back on that street through town, the stone walls, and the echo of my steps on the stone pavement.

Later, my last years of the liceo, winter days were spent with my friend Antonella in her clothing store, Mr. Up, now the fruit and vegetable store. It was my refuge, warm and cozy, with good company, laughter, and conversation. Winters were good then. There were weekend nights toward my late teens when we went to the vasche in San Casciano, past Le Piazze, natural springs that pooled hot sulfurous water in these huge baths where the women of the town also did the laundry. In the deep of winter, sometimes with snow on the ground, we would pile in three or four cars, drive to San Casciano, down the steep treacherous road that led to the vasche, strip our clothes off in the freezing cold, shaking, with goose bumps, and climb into the baths and soak, sometimes till dawn. We got out with our skin tingling from the heat and dry off with our clothes—no one ever thought of bringing a towel—pile back into the cars, cigarettes burning, music blaring, and head back to Cetona. It was a favorite winter pastime.

The aversion to winter in Cetona is an adult construct, I have realized. In my heart I have missed winter in Cetona as much as I missed the reawakening of spring and the openness and flowering of summer. Indeed, without the dreariness of winter there is no exhilaration of spring. I realized that in my heart there is a place, deep-seeded and forgotten, to revisit and celebrate the rainy roads, the fields laying fallow or awaiting seed, and the blustery times, the desolation of the piazza in the rain, the feeling of no place to go but right here, the feeling that everything is right here even if it is raining, here in this place, and it is perfect as it is. There is an important and sacred place to notice the quiet, bare beauty of the winter landscape, the sound of the water rushing in the streams, the silence of the fields. All of that is built into my flesh and the programming of my brain as strongly and equally as the blossoming of spring and the lush heat of summer.

And I love it all equally, still.

Sybil Fix©2014

Christmas Gratitude

 

Cetona in fog

Cetona in fog

And so it is Christmas, in Cetona. So unexpected for me, and such a gift.

I look out the window and the cloistering fog that has been settling on the piazza for the past several days has finally lifted tonight. I see the flickering lights of Christmas decorations, the Christmas tree in the piazza, the lights up on the Rocca. People are going to midnight Mass, arriving on foot and cars, coming out of the three bars on the piazza, and running up the steps to San Michele Arcangelo, to sing and pray. I had not seen so many people in Cetona since I got here. The little stage on which my life evolved for so long still runs as it did, and watching now gives me a profound sense of joy. It is simple, yet so full, for me.

It is hard to explain what a gift it is to be here, in this little hometown of mine. So much space and time have been between me and this, it is impossible to describe the missing. The deep lack of. The distance one cannot physically fill by sand or land or planks. For so many years, missing, my friends, my places, my landscape.

I have cultivated the art, the gift, of gratitude for some years, brought into my life most poignantly by my yoga practice and the good souls at Jivamukti Yoga in Charleston, whose community has changed my life. I knew gratitude before, I think, in my heart, but my yoga practice has made me put my mind into it consciously, teaching me exactly how to honor it and cultivate it in a way that your every day, your every hour, changes all for the better. And so now I feel absolutely and completely grateful for being here, and I feel it, fully. And I need nothing else.

Everywhere I turn I see a face I know, someone who says Ciaoooo, and kisses me on the cheek. Everywhere I turn is landscape I have longed for. My eyes and ears are hungry, my spirit hungry, my every sense completely alive.  I look at the faces and I want to kiss them all because I did not kiss them enough in the past. I want to hear everybody’s story, I want to hear everything I have missed. I want to hug them or look at them because I did not look enough, I did not pay attention. I want to see every kid I knew in middle school and know what they are doing, how they are. I want to see my old teachers and thank them, and I want to hug my old lovers simply because we loved each other. I relish every moment I can live today exactly the way I am for what I have in my heart today. I look down and see my vein pulsing, and I am here. Here.

Last night I went to a Christmas concert played by the band of Le Piazze, a fraction or frazione of Cetona, a separate town in the same municipality. La banda, as it is called, used to be something people scoffed at, a country assembly of wind instruments and drums played by older guys. Now it is a vibrant little musical group populated mostly by talented kids, young people, and conducted by a devoted and talented musician. Rachele, the 12-year-old daughter of my friend Cinzia, plays in the band, so I wanted to go. I was impressed by their spirit and performance. Most importantly, as most everything here now, it was a beautiful thing for me.

I had not been in Italy in any place in any public occasion to hear the Italian national anthem for so, so many years, and that was the beginning of a long set of emotional songs for me. I grew up with the Italian anthem, not the American one, and I had allegiance to this red, white and green flag, no other. There was a moment of disbelief for me that I was actually in this little church, with this band, and this anthem playing. Then the band played Morricone and Handel and Bach, a series of beautiful music for the holidays, and it was lovely, but what hit me the most was John Lennon’s Happy Christmas. I asked Cinzia for a Kleenex and I had to work hard to not weep. I love the United States, and I love the American spirit. It is the reflection of an important and large part of my being, my entrepreneurialism, my positivism, my way of looking at the world with a generous eye. My way of not wanting anyone to tell me what to do, yet my civic spirit, my citizenship of the world. That is all my American side, and nothing reminds one of the American spirit like rock.

But sitting in this little church in Cetona, well, I know that this is still the place where I belong. I looked at the ceiling and the freschi and the little ladies sitting in the pews around me, little ladies I have known by name or by face since I was a little girl. Little ladies who brought me up here, in this village. And that, the combination of those two things, was more than I could bear in sheer gratitude, in sheer, pure joy. I cried and I smiled all together, because I am so happy, so profoundly happy to be here, and yet to be there, too, in heart.

On occasion of this holiday I am grateful for many more things than I could list here: Hot water, heat, my eyesight, hearing, my feet, my health, my mind, my heart. Cinzia, Lucia, Fabiola. Every face I know here. Maria. Pippo. Giuliano, Nilo. Mauro Cardetti. Marisa. The streets of my town, the apartment where I live, every kindness that is shown to me every day, from a loaned car to a bought coffee to an invitation to dinner to a bottle of olive oil or wine, to Dario making me pieces of wood I can paint on. I am grateful for the moms of my friends who cross the street to hug me and give me the best hugs and hold me a minute longer, to hold me and pinch my cheeks. The talks with long-lost friends over a dinner table, and the talks with people I had not dignified with a conversation in years. They are kind to remember me, and kind to dignify me now. The hellos and hugs I receive, the love that I feel surrounds me in ways big and small every day here. I am grateful for all the inspiration I have, and the paints I paint with and the pen I write with. I am grateful for the fog I had missed, and even the cold. The climbs through the steep muddy hills that jolt my heart back to life. And every instant of this landscape I get to see, this glorious landscape, which on most days knocks me to my knees.

So, on occasion of this Christmas I need no gifts. To everyone who supported this venture of mine, who helped me get here, and who loves me from afar and gives me fundamental encouragement, this was the biggest gift I could ever have imagined. Thank you. And just know, I am home, indeed.

Merry Christmas to all, with a full and glad heart.

Sybil Fix©2013

 

A Chapel to Pray

Cappella Votiva

Cappella Votiva

Today I needed to run some errands and get out into the countryside, so I called Mauro Cardetti, our family mechanic for years, to see if I could borrow a car for a little while.

—Certo! he said. Sure! I walked down to his shop and he awaited me with a dusty little red Twingo, a car that looks a lot like a boxer, the dog. I walked around his shop checking out the vast collection of posters of naked women while he ordered his grandson to check the oil. He mumbled as he put air in the tires.

When they finished he turned to me.

Non e` una Ferrari— he said, opening the door for me and smiling —ma va. It’s not a Ferrari, but it works. I love Mauro.

The countryside today was miraculous, beyond words. To cry for. The sky was crystalline blue all the way to infinity, and I set out for Le Piazze. I will never be able to find the right words to describe the tapestry of colors and textures of this landscape. Interestingly, watching the undulations and slopes of the land here I think more and more frequently of analogies involving water, of the earth rolling like huge oceanic waves. Today every tree, every hill, field, patch of grass, branch of olive tree, shone distinctly, tersely. The colors were spectacular, moving more toward the dark yellows now, and the grapevines are turning deep red.

I stopped to buy some wine, and while Alessandro was preparing my case, a girl I had not seen in thirty years walked into the cantina. Her name is Lucia and when we first moved here she lived in Patargnone, a little borgo in the country, nothing more than a little group of clustered houses up on the hill, where we lived while our house was being restored. Her father and my mother, an odd combination now that I think of it, took turns carpooling us into town. I don’t think he trusted my mom the first few times, but he got used to it. Lucia looks just like her mother did then, with jet black hair and black eyes, rosy cheeks, a little pudgy, with a sweet girl-like smile, the same one she had as a little girl. We exchanged news for a few minutes—she has an 18-year-old son and an agriturismo up on the mountain.

Vieni a trovarmi!!— she said. Come see me, and waved.

From Le Piazze I drove to Fighine, a hamlet surrounding a castle high up on Monte Cetona. I had not been there in decades—I have been there perhaps only twice in my lifetime and never in weather like today. At every turn as I rose up the mountain on this curvy road another distant set of scenery opened before me, another little town on the horizon, another set of hills, farther and farther away, until I could see mountains I had never seen from here, their highest peaks pink and topped by snow. To my side Monte Cetona sat like a big giant, its shoulders and back rolling in sliding slopes densely vegetated, thick with dark trees and bathed in sunlight, opening, as you descend, to fields of olive trees and rows and rows of grapevines. When you get up to the height of Fighine, the top of the mountain, la cima—the top, as it is called here—bristly with pines and other mountainous trees, stands almost to your side, like you could wave open your left arm and hit the cross with the backside of your hand. It is right there, and magnificent.

I was disappointed to learn that Fighine is entirely privately owned and there is no access to the castle or for that matter any lookout. Carlo Baglioni’s workers are up there restoring another portion of the town, which is my only hope of seeing it. No, signora, they said, there is no place to look. I am momentarily outraged by the private ownership of castles, but then I laugh thinking that they always have been private. I see two guys doing yard work inside the castle gate and I walk towards them. They turn off their machines. So’ Inglesi, they tell me. The owners are English. Umph, I say. We laugh. Beati loro! Lucky them.

I loved the view driving back down, though, and headed to another little hamlet nearby, Camporsevoli, on an adjacent slope of Monte Cetona, a tiny group of houses surrounding a church and another small castle or fort of some kind, another place I had not visited in decades. The town was deserted—I saw not a person or a cat—but immaculately and recently restored and preserved.

On the outskirts of the village I stopped to take a picture. A man was picking olives in a field below me. He stopped his work and came towards me. He told me a family owns the whole town of Camporsevoli, first the parents, then their children, a brother and a sister. They bought it all—it was all falling apart. They do good work, he said, they keep it in good shape, clean. They are restoring a farmhouse down there, too, he said pointing to a field above. It takes a lot of money to pay the taxes and do all that, he said. Not everybody can do that. I reconsider what I thought about Fighine.

I think back to when Aldo and Anna Lanari owned the Rocca in Cetona, the castle that towers over the town, its signature monument. The Lanaris had just bought the Rocca and, high-mindedly, they decided that they wanted to give the people of Cetona a chance to celebrate the property and see it, so they decided to open it to the public twice a year or something like that. They put out beautiful food and generous drink and let people roam through the carefully manicured hedges and the rose gardens and take in the spectacular view of the countryside and the town below. Town folk came, hoarded the food like they had not eaten for a month, drank all the wine, threw garbage on the paths, and talked trash behind the Lanari’s back for trying to do something nice. Never again, said Anna. Never again.  I can see why castles are private.

While I am talking with the man I notice a tiny chapel set off the road, a little matchbox of a building, stone, surrounded by a simple wooden fence and a metal gate in a patch of brilliant green grass. 1916, it says on a plaque.

I ask him, what is this? It is beautiful.

—E` una cappella votiva, said the man. L’hanno costruita durante la guerra. Ci andavano a pregare per i persi in guerra, i feriti. Ci pregavano. Quando ancora la gente ci credeva. Adesso non tanto. It is a votive chapel. They built it during World War I so people could go there and pray for the lost and disappeared. They prayed there, when people still prayed. When people still believed. Now not so much.

He offered to get the key to the chapel from his mother, and he let me inside. It is lovely, plain but with many little lights, pictures of the Virgin Mary, and plastic flowers. I thought of what it must have been like there during World War I, in the middle of nowhere, high up on the mountain, with no news, no information, praying for a son who has gone, a husband. 1916.

L’anziani, i giovani l’avranno costruita— the man said. Old people and children must have built it, people who had not gone to war, he said.

Chissa`. Who knows.

I comment on the weather, the beauty of the day, and the peace. He smiles.

Eh si, qui e` diverso. Qui se senti passare una macchina e` strano, he said. Yes, here it is different. If you hear a car it is strange.

And that is a world I like.

Sweet Chapel

Sweet Chapel

 

Sybil Fix©2013

The Comfort of Home

Il Bar Sport a Cetona

Il Bar Sport a Cetona

Today I came out onto the piazza at lunchtime to have an aperitivo with Fabrizio. He was leaving for his house in Florence and he wanted to say goodbye. Last night we were up late talking and walking through town, and this morning I was exhausted. I figured I could check a few things online while we were at the bar—my internet connection at my apartment is frustratingly haphazard—so I grabbed my laptop as I headed out the door. Bars here are not like American bars, though in the evening it can become somewhat similar; it is a café`, really. The Bar Sport, a fixture in the piazza of Cetona, has been recently restored, it’s clean, it has nice light, good pastries, comfortable round marble tables, and a really nice staff, including Paola, with whom I grew up, though she is a few years younger than me.

Buongiorno, Paola, I say, taking off my sunglasses. Buongiorno, Sibilla, Paola says. Come va? How are you?

She sees my laptop under my arm.

Apri l’ufficio? Are you opening your office? she teases. I come nearly every day to check my email and write at the bar, again, due to my irregular internet connection. I smile, nodding.

So’ stanca morta, I say, to no one in particular. I am dead tired.

I open my laptop and ask Paola for a hot tea. After I pour my tea I realize I need a piece of paper from my other purse, which is in my apartment. I pull my jacket back on and I say, Paola, torno subito. I’ll be right back. I leave my purse and my computer sitting on my table, as one does in Cetona (once I left my purse on an outdoor table at the bar all night, and found it in the morning!).

Non ti preoccupare, l’ufficio lo guardo io!! Paola yells after me, laughing. Don’t worry! I will look after the office!

I come back and settle in to read a few things online, check my bank account, which is dangerously low, and then settle on The New Yorker homepage. I miss The New Yorker. And NPR.

Nilo comes through the common door between the Bar Sport and his restaurant, next door, Ristorante Da Nilo. He runs both the bar and the restaurant; on the floor above is a B&B, La Locanda. He smiles and stops to chat.

Ciao bella, he says, pinching me on the cheek. Nilo is tall, with a dark moustache and rectangular dark-rimmed glasses. He looks a bit like an owl. He is a real Cetonese, born and raised, and he talks Cetonese fast and in a low monotone except when he’s angry; then he sputters and curses and raises his voice, like most Cetonesi do. He has run a bar or a restaurant in Cetona ever since my family started coming here in 1972, when I was seven. He was married to Pia, then, with long, long dark hair and skin the color of porcelain, and their son, Cristiano, was a baby.

Ti ho visto crescere. M’avrai anche pisciato addosso quando t’ho preso in braccio, he says. I saw you grow up. You probably even peed on me sometime when I picked you up. He likes to tell me this; it seems to give him some kind of honor. Seniority, perhaps.

Nilo’s restaurant has always attracted a group of fairly prominent customers, including the president of Italy, other politicians, news people, and some business tycoons who own houses in the area. Hence, Nilo often wears nice dress pants and a sharp button-down shirt under his chef’s apron. Today it’s pale lavender.

Dove sei stata che non t’ho visto questi giorni, he inquires with the curiosity one comes to expect in Cetona. Where have you been that I haven’t seen you the past couple of days? He likes to keep tabs on me, and he is a bit distrusting. The other day I told him I was going to Milan for a few days to meet someone for some potential work. Sei sicura, per lavoro? Eh, ma si, per lavoro. Are you sure you’re going for work? Right, for work.

Nilo sits down at my table for a moment, I ask if he has reservations this weekend, if he is going to be busy. There are no people in Cetona, he says. He says it every day. We talk about how to bring more people to Cetona. Everyone needs more business. We talk about the idea of me bringing small group tours here, an idea I have considered in the past.

It’s one o’clock and I mention that I am tired today, that I feel like I am not eating properly, I feel depleted. He scolds me for my vegetarian diet.

Mica puoi mangia’ solo le verdure Sibilla. Devi mangia’ un po’ di proteine. Sibilla, you cannot eat only vegetables. You have to eat some protein, too.

He gets up and goes back into his restaurant.

Paola says the staff had penne with zucchini and peppers for lunch. Sounds good, I say. Cristiano, now forty, who runs the restaurant with his father, appears in the door between the bar and the restaurant. He is dapper in his waiter’s outfit.

Cristiano, alla Sibilla gliela fai la pasta come s’e` mangiata noi? Ma vuole mangia’ qui. Cristiano, would you make Sibilla the pasta that we had? But she wants to eat here.

Cristiano is of few words. We are out of peppers, but yes. Si. He smiles slightly and disappears.

Twenty minutes later Cristiano brings me a gorgeous plate of pasta—not in a pasta plate, mind you, but on a very large flat plate. The pasta is almost spilling over the edges. Sliced zucchini sautéed with a little tomato, basil and garlic. The sauce clings perfectly to the pasta, with just the right amount of oil, and there is a mound of parmigiano on top. The pasta is nearly falling out of the plate. It is huge and perfectly cooked.

Nilo comes up to the table and chuckles. He puts his hands together like in prayer and says, Ma ora mangi un piatto di pasta cosi?! You’re going to eat a plate of pasta, like that? he asks. He takes in my face, smiles, and pinches my cheek. Bella, he says.

Eh, tanto va’ a correre, la smaltisce! says Paola from behind the counter. She’ll go running later, she’ll run it off!

I read and write as I eat. Every bite is a source of supreme happiness. Occasionally I glance over at the plate to make sure I still have more left. In addition to the pasta being delicious, I am thrilled, simply and entirely joyous, to be able to eat here by myself, to eat and read here at this little table at the Bar Sport, a place where I have pranced, played, frolicked, sat, drank, smoked, talked, socialized, cried, and laughed since I was a kid. Exactly where I am sitting used to be a jukebox that played sad love songs. The soundtrack of our adolescence—sad love songs.

It is quiet here at lunchtime, except for hushed voices and the clanging of dishes coming from the restaurant. The bar is empty except for an occasional worker stopping in for a coffee. Paola is behind the bar, quietly cleaning up, arranging. I am chagrinned to near the bottom of my plate. I gather the last few penne on my fork, and I finish. I scrape the bottom of the plate and smile to myself.

As I finish eating, Mauro Cardetti, the town’s mechanic, comes in. Actually, I think there is another mechanic in town but who has ever heard of him? In my book there is only one. Mauro sold us and fixed every car my family ever had in Italy; his son Paolo is my age and we went to elementary and middle school together. Mauro has known me for more than forty years. Once I borrowed my mother’s car and literally drove the side of it up a wall. I couldn’t figure out how to back up without damaging the back of the car. I took it to Mauro, crying, and asked if he could fix it so my mother would not notice. He did. He is an angel. Now he is trying to find me a car to drive around here, something cheap. I would trust him with my life, really.

Sibilla, he says, coming up to my table, my plate still sitting there, che ti offro? Prendi qualcosa? Se non prendi niente mi dispiace. What can I offer you? What will you have? If you will have nothing, I will be sorry (literal translation).

The regulars come up from the basement of the restaurant and file into the bar one by one. They are the men, mostly bachelors, who eat at Nilo’s every day, the carabinieri of Cetona, a few local workers who live alone. And Giovannino. As long as I remember, Nilo has always had a solid group of them, mostly older single men. He feeds them well and treats them well, like family. They get a flat price for a primo, a secondo, water and wine. Then they get their espresso at the bar and head back to work.

I consider that maybe I should join them; maybe I should ask Nilo if I can have a special vegetarian deal. At least I would eat properly. And I am so grateful to have this food, to eat here, to be in this place.

Nilo comes through the door from the restaurant. He walks up to my table, leans into me and looks down at my plate.

Ma tutta l’hai mangiata? You ate all of it?

He laughs. And I do, too.

Sybil Fix©2013

A Hill in the Sun

 

Land of the gods

Land of the gods

The true hand that holds my heart resides in the countryside around Cetona even more than in the town itself, and walking in the country on dirt roads through this landscape takes me home into my truest being, my purest happiness.

The countryside here is as terraced horizontally as it is vertically, with handkerchiefs of disparate fields patched together like an enormous quilt stretching all the way to the horizon. It’s like the quilt is rolling on the very surface of the ocean, hills cresting so very softly then falling again, fields joining each other seamlessly like a succession of small waves in a harmonious act of supreme perfection, all the way to the sky beyond and above. My eye dances on the waves like a surfer, and here, like a surfer, I find my joy. God could not have made this this beautiful.

It threatened rain today again, after raining for the past several days, and I set out for a walk. The top of Monte Cetona, rising above and to the side of the town like the shoulder of a taller brother, was covered in mist and dark clouds, as it often is at this time of year. But moving away from the mountain the sky opens to a painter’s sketch of angry dark purple slashes layered over with happy swatches of light grey and misty blue and fast moving white clouds clearing the occasional patch of bright blue and sunlight. The fields this time of year are like a seamstress’s most delicate handiwork, with carefully stitched rows of trees with leaves the color of terracotta sown between palettes of greens, interspersed with brown patches, rusty ditches, the occasional bright red leaf, and the white of gravel roads taking off here and there like pieces of soft unraveling ribbon. The occasional tree bursts fire red, each leaf in relief against the green. I pass trees laden with kakis bright as orange Halloween globes or pumpkins hanging from their branches. Below them brown fields lying fallow since the corn harvest weave seamlessly with expanses of bright green grass, strange remnants of summer or a promise of spring. Pine trees, dark and tall, line a dirt road going up a hill to a house; on an adjacent hill, rows and rows of vines are turning yellow and red, ready to lose their leaves for the winter. A sliver of land suddenly catches a ray of sun and shines moss green like an emerald. Olive trees shimmer silvery and lovely, broad and expansive next to rows of narrow black cypress trees saluting on the crest of a hill. A gust of wind brings a flurry of brown leaves to the ground. Soon the trees will be bare.

Voices rise sudden and happy from a field where men are picking olives. Through the silvery branches I see the nets, red, on the ground, laced across the grass, olives fall purple here and there and gathering together where the lands slopes. Someone talks and laughs. I see chickens in the field below, in the grass, near a little makeshift shed, and I walk down the hill to see if I can pet them. They run away quickly. One is black, she reminds me of Bella. I think of her, how she died just before I left. I think of my other chickens, and my cat, Joe, and my boyfriend Aram. Images run through my head. I feel suddenly sad. I turn back, I climb the hill back onto the road.

The road is muddy. I pass the stream by the old mill; the water pools there and gets quite deep. I think back to when the engine of my motorino would flood out there sometimes when Lucia and I would go for a ride, me insisting that if we rode through fast enough we could make it and come through to the other side. But we would nearly always get stuck, and Lucia and I would laugh and push the motorbike out of the water and up the hill, our shoes and pants soaked. There is a nice bridge there now, and a beautiful house that I once recall was a rubble.

Along the road I notice patches of some kind of tall prickly grasses we picked in middle school to dry and paint for an art project, maybe to give to our mothers. I painted mine silver, maybe, though they are so pretty just as they are, brown. It cheers me to see them, I remember the joy of taking them home, and I would like to pick some, but then I would have to carry them for the rest of my walk. I pass a little stone house along the stream that has been recently restored, like a cabin in the woods; for decades it was a ruin that I would pass running because I thought strange men or creatures might live there at night. Now it is a lovely stone house, and just beyond it a lovely pink house I would love to own.

I pass the edge of the brown field where a farmer, an old man I trusted, once parked his tractor at the edge of a secluded row of trees, the tractor I was riding on for fun as a kid, and molested me. I think of my little jeans and his big hands. I turn away. My eyes skim the gravel and the puddles on the ground. My mind moves away quickly seeking refuge, though it stops just long enough to remember his fat hands and square, thick fingernails, and the blue of his eyes. I wonder if he molested others, maybe his daughters and granddaughters. They never do it just once. I wish he were not dead because I would like to ask him, how, how he did this to a little girl with a brown sweater. Who else did he harm?

I walk faster. I look up the road passed Greta and Pietro’s house, and over the hill. Dark clouds weigh down the sky and the landscape looks like it’s painted a darker shade of green. But as I round the curve the landscape opens to reveal a perfect slice of a hill in full sunlight, like someone thrust a beam of light on it from a theater catwalk above just to please me, to cheer me. I stop and smile. I smile at the humor of life, a moment shady and a moment bright.  The ground is muddy and marked by the tires of a tractor. I hear a tractor, and I turn. A tall blue tractor drives by pulling a cart carrying cases of olives, headed to the mill. I stop to let it go by. The farmer waves; I smile, and I am comforted.

I pass little sheds where farmers keep their tools and their animals; I see patches of white in the grass and realize they are ducks, foraging in an open field. I stop to talk to them. I am now back on the paved road and cars pass me going too fast, unaware, uncaring. I don’t like that about Italy. I pass the place where all these cats live, two or three adult cats with five or six kittens now; they come out running and I shoo them back toward their shed, beyond the fence, so they will not come out onto the busy road where no one will stop for a cat or any other animal for that matter. I don’t like that about Italy, either. I walk up Finoglio, a steep, steep street into town. I turn and walk backwards so I can look out back onto the landscape as I rise. My breathing is labored, the air filling my lungs, brisk though not cold. I make a mental note to pick nettles before it is too late, before it gets too cold, so I can make risotto. Make sure dogs have not peed on them, Luisa said.

The countryside is stunning and familiar like a glove I used to wear. I smell firewood burning everywhere. We used to hate it growing up, the smell of firewood; our clothes smelled like firewood all winter long, always, and we felt unclean. Now it smells true. I don’t care about my clothes.

I breathe.

Sybil Fix©2013

A Funeral for Many (A Short Story)

 

A funeral in Cetona

A funeral in Cetona

Today in Cetona there was a funeral, for Ferriero’s mother.

I sat on the window sill of my apartment overlooking the piazza as mourners began to assemble in front of the church a little before 3 p.m. From my window I have a perfect view of the church, the way it juts out at the northern end of the piazza at a sharp angle, framing a side street that goes behind the piazza and up into the highest part of town. On sunny afternoons the church’s ochre façade catches the sunrays and reflects the light back into the piazza in deep yellow hues.

Not today, though. Today is quiet and gray, though it’s not going to rain. I look out at the sky above the church’s terracotta roof and think, thank God. Funerals in the rain are the worst, particularly on foot.

I open the window softly—those solid two-pane wooden windows they use here—and lean out quietly. It clangs a little and someone looks up. I consider that it might look bad, that people in Cetona might think it looks bad. Sta male. I close the window.

—I should go to the funeral, I think to myself.

Something in me hangs back. I am reluctant.

—I don’t know … myself says. I am reminded of a child who will not join others at play.

The church bells start ringing as they do here to announce a funeral. C’e` il morto, people say— there’s a dead one. People trickle into the piazza in couples and groups, making their way up the steps and into the church. I see Loredana. And Maria. Then I see Piero, and the man whose name I don’t know. I see him all the time, but I don’t know who he is. I need to fix that. I think about being more mindful.

The hearse comes into view—some kind of dark blue old model Mercedes station wagon, driving slowly into the piazza, followed, on foot, by Ferriero and his family. The pall bearers take the casket up the steep steps and into the church. Slowly a few people follow. It’s exactly like I remember, except for the new African (and black) priest, on loan for the day from Le Piazze, I am told. I am shocked to see him, here.

I watch for a while. I get my camera and take a few pictures through the closed window. I call Fabiola. She, Lucia, and Cinzia are my closest childhood girlfriends.

Vai al funerale?— I ask whispering. Are you going to the funeral? The window is ajar. I notice an ex-lover of mine among the mourners. He has lost a lot of hair, I note.

Ma chi e` morto? Who died?

La mamma di Ferriero.  Ferriero’s mom.

—Ah, la mamma di Ferriero e` morta? Oh, Ferriero’s mom died? They do that in Cetona, they ask you to confirm exactly what you just said.

—Si.

—Ho visto gli annunci, ma … si, Innocenti si chiama? Si, ci sta. I saw the announcements [which they paste to the walls of the town], but … Innocenti was her name? Yes, I guess it fits.

E allora? So, are you going to go?

—No, non la conoscevo. Non ci ho confidenza, nemmeno con Ferriero. No, I didn’t know her. I don’t have that kind of close relationship, not even with Ferriero.

She is silent. Then she asks, Ma te ci sei amica? Are you friends with him?

I can feel her thinking that I don’t belong. I get a little defensive.

—Nemmeno io la conoscevo. I didn’t know her either. Ci volevo andare per Ferriero, perche` gli voglio bene. Ma non mi decido. I wanted to go for Ferriero, because I love him. But I can’t make up my mind.

We hang up.

—If Fabiola is not going … I definitely do not belong, myself says.

Ferriero. He is the kind of person who, in a town like Cetona, colors the landscape of your everyday life a bit from the background. He worked for the comune, for the town, and for many years he drove the school bus, picking up and delivering children all over Cetona’s broad, hilly countryside. I walked to school mostly, but I often went home with other children in the afternoon, to play or do homework. He saw each of us grow up, and he knew us all by name. After that he filled in for the becchino, the gravedigger, for a while, but mostly he drove Cetona’s garbage truck, a little bright blue truck that fit through the alleyways of the town. Everybody in Cetona knows Ferriero and loves him. He has the sort of kindness, the sort of inner honesty that cleanses you. His whole face lights up in happiness, and a cloud comes over him in sadness.

Every year I have returned to Cetona he has greeted me, hugged me, and asked about my family. I think of him with great affection.

You should go to the funeral if you want to, myself says.

I fidget. I go to the mirror and consider what I am wearing, just in case. I look out the window. I think back to that time when my friend Rita and I had to leave a funeral because we were laughing so hard. It was embarrassing, but so funny. I smile to myself.

I get out a notebook and write down some thoughts.

—It’s silly of you to go, you don’t even know her, myself says back. Esterina Innocenti. There was a song once by someone, Vecchioni maybe, about Esterina. I try to remember the melody.

True, but you want to go for Ferriero, myself says.

—Ferriero won’t care if I am there or not, says myself. He barely knows I am here.

Which is not true. One of those lies we tell ourselves, just so. In fact, we talked just the other day. I went running and saw him working in the Del Ticco’s vegetable garden, their orto, which he seeds and plants and tends to because they are too busy with other farm work. He saw me from the road and waved at me. He is unmistakable – tall, a big gangly, with a headful of thick hair, once black, now white, and his broad, friendly face. His brown eyes light up from afar when he sees you.

I stopped to talk with him and he gave me a big hug.

—Ma te non invecchi mai! Se’ sempre piu` bella, he said. You never get older. You are prettier every time. He looked me over.

—Li voi du’ rapi? Do you want two rapi? he asked me.  Che ti do? What can I give you?

We stood by his Ape and chatted about his kids and their kids, his pride visible, and then he told me his mother was not doing well, that she was at the old folks’ home, the Casa Famiglia, and that she had gotten worse since his brother died, just a few months back. His brother. His brown eyes went sad. He said they were only two years apart. Their father died when they were little, and their mother raised them by herself. She lived a life of sacrifice, he said. He wiped his face with both of his hands. For a moment I thought he might cry. I thought I might, too. Then he shook it off and we walked through the orto and he filled a box with rapi and tomatoes, and a head of fennel.

I stand up from the window sill. It’s getting late. I resolve to go to the next funeral. If I am here long enough, I figure, there will be another funeral. Then I quickly consider that’ll require someone else dying, perhaps someone very dear.

I look out again. More people assemble at the bottom of the church steps, people who don’t want to go inside, like going to Mass will give them a rash. They wait outside until the procession starts, then they file behind. They stand around with their arms crossed, talking, telling stories.

I notice the crowd.

It won’t matter to Ferriero if I am there. Look at how many people are going, myself says.

—But it will matter to you. You will be sorry, I reply. Think of how many funerals you have missed in Cetona.

That gives me pause. So many. I think of all the many friends I have lost over the years whose funerals I have missed. Friends, and parents of friends. When my friend Lucia’s father died I sent flowers, I called, I cried, in Charleston, South Carolina. But I was not there. One of my best friend, and I could not be there. I have not been there to mourn with others, with friends with common memories and affections. I have not been there to participate in the communal grieving that Cetona experiences every time someone dies.

I have thought at times, if so and so dies I am going to have to go. How do you draw the line on death?

A few men in suits start coming out of the church, and more people gather. The church bells chime the half hour. Half hour has passed. The funeral is going to start. Now.

People will wonder why I am there. They will wonder who I am, if they don’t recognize me. I don’t belong anymore,  myself says.  

Only you know how you belong. What matters is what is in your heart. Your heart belongs.

But … I argue.

You wanted to be back to participate, to be with the people you love. Now you are here. You will regret sitting out.

I remember something we talk about at Jivamukti Yoga. Something Jeffrey Cohen said at some point. Act out of your true self. What matters is the intention.

People start coming out of the church.

I hop off the window sill, grab a black shawl off a chair, and run down the steps of my house and into the alley and down into the piazza. I bump into Carlo Tosoni. We grew up together. We have known each other for more than forty years. He is wearing beautiful yellow ochre pants and a tweed jacket. As kids he lived up a steep hill from my house, he could almost spit onto the roof of my house, and he used to organize little groups of boys to gather in the dark to scare me on my way home at night, on weekends, when I was allowed to go out.

He puts his arm around my shoulders.

— Che fai? he asks. What are you up to?

Vado al funerale. I am going to the funeral.

Anche io. Si cammina insieme. I am too. We can walk together.

I am relieved. I breathe.

Carlo is a jokester, known for his cynical, dry wit and hilarious commentary. It has not abated. I ask about his wife and his son, then Carlo looks out onto the crowd of mostly elderly people and says that when he is 101 he wants to have a party, for those 95 and up.

Con le badanti saremo. We will have caretakers, he says. We laugh. He elbows me in the side. He has always done that, a gesture of conspiracy.

A few people look up. People like to appear serious at funerals, even though during the procession they talk about everything from the olive harvest to their health to the color of the socks of the person walking in front of them. I laugh.

The pall bearers come out of the church carrying the casket, and Ferriero comes out with his wife, Anna, and his family. The procession assembles and the priest leads the way, the hearse following, and then the mourners, on foot. The priest reads prayers over a microphone, a new development since I have been gone. The way to the cemetery leads out of the piazza and up the hill toward Sarteano, then it veers off towards the outskirts of town and becomes a country road, curvy and narrow and lined by cypress trees. It is a lovely road, about a mile long. People walk slowly behind the hearse, arm in arm, in twos or threes, the decorum falling away as the procession moves, particularly in the rows farther away from the priest. It’s a bit like high school, I think to myself. Now people are talking, joking about this or that, telling stories. Carlo, ever curious, is focused, I see, eavesdropping on a man behind us who is telling a story.

At the mouth of the road to the cemetery tears fill my eyes. I am surprised, taken aback. I don’t want Carlo to see me cry. He is going to turn to me and grab me and say something like,

Madonna, ma che fai, piangi? Ma perche` piangi? Ma non piange’, via, che dopo mi fa’ piange anche a me. Virgin Mary, what are you doing, are you crying? Why are you crying? C’mon, don’t cry. You’ll make me cry, too.

And then I am going to laugh, Carlo always makes me laugh.

But what I really would like to do today is cry. What I want to do today is mourn, here, in Cetona. I want to stop the procession, and the hearse, and I want to stop this moment, and I want to lie down and cry for the family of faces that fills my head, all the people I lost, too, even though I was far away: Edoardo, lover and friend, dead at fifty. Andrea Narduzzi, dear friend, so missed, dead at forty-eight. Stefano, with whom I shared birthdays. Maurizio, who killed himself. I want to mourn here, today, for Elio, Giannina, Greta, all like parents to me, since I was a child. For Aldo and his wife, Beppa. Pio. Giuliano Landi and Bruno Terrosi. And for the parents of friends of mine — Lucia’s father, Franco Patrizi, Stefano and Mauro’s father, Alfredo Del Ticco, Dario’s father, Ilario Bennati, Andrea’s father, the Maresciallo, Fabiola’s father. And many others.

I know at this very moment that I am exactly where I belong, at this funeral, to honor not only Ferriero and his grief, but all those in Cetona whose lives and burials I missed during all these years away. Those whose company I have missed, and whose deaths I have mourned alone, from afar. And for my own sadness, my own grief.

—Certo e` morta tanta gente. Che peccato, Carlo says, shaking his head. So many people have died. What a pity. He put his arm around my shoulder and pulled me to him.

I am glad I got off the window sill.

Sybil Fix©2013

Cetona's cemetery

Cetona’s cemetery