Larry M. was my roommate for the semester we spent at the University of Dallas Rome Campus. He was one of the gang that traveled to London together before the start of the semester for a week and then took the train to Rome by way of Paris. He was my companion on several weekend trips out of Rome, too, including Florence, Munich, Salzberg, and the ill-fated attempt to get to Malta for Easter, which was aborted in Siracusa, Siciliy, when we found that the boats were all booked up, and then turned semi-tragic when we were robbed at gunpoint in a pizzeria in Messina on the night before Easter.

Larry used to carry a tiny notebook everywhere he went, into which he would write notes about photos he’d taken, places to visit and sights to see, addresses, hours of operation, Italian phrases, and so on. He filled several such notebooks, I think, as the semester wore on. One day, in circumstances that have completely escaped my memory, he wrote a note to me that said:

Mental Note #7639471
Don’t, under any
circumstances, associate
with Assholes.

I apparently found this to be such good and useful advice at the time that I folded up the tiny scrap of paper and stashed it in a safe place in my wallet. (He must have written the note some time after Easter weekend, because the note wasn’t lost with the wallet that was stolen in the Sicilian robbery.)

The semester ended and we all went home. My sister Anne was taking a photography course the next semester at University of Houston, and she made black-and-white enlargements of a few of my Rome semester photos to decorate my dorm room. One of them was a shot of Larry and our friend Alexandra sitting on my bunk bed in our dorm room in Rome. At some point in the fall semester of 1983, I cleaned out my wallet and found Mental Note #7639471. I placed it inside the acrylic box-frame with the 8 x 10 photo of Larry and Alexandra. It stayed there for as long as I kept those photos. Visitors to my dorm room and later apartments would move in close to find out what the little scrap of paper in the corner of the frame was, and then grins would break out on their faces as they read Larry’s messy college-kid chicken-scratchy handwriting.

Eventually, I got tired of looking at the photos, so I pitched the aging acrylic frames and packed away the photos. I still told the story of that note, though, whenever I wanted to talk about Larry and the fun times we shared in Rome. The note went with the enlargements into a box of photos, and that’s where Gayle, my professional organizer friend, found it a few weeks ago as we were working on a project to sort and categorize my old photos. She said, “You wanna tell me about this?” and handed me the yellowed piece of 26-year-old paper. The characteristic frayed edge that results from being torn out of a spiral notebook was still intact. The scrap had been folded again in storage, and the fold lines were fragile and crumbling.

There wasn’t much to tell her about the fragment. I didn’t remember what prompted Larry to write the note. I only knew that it had meant a lot to me at the time as a symbol of our friendship. To me, that note meant far more than what its words said. It also meant, “The world is full of assholes, but you and I have each other.”

I’ve come a long way since I first carried that note around as a touchstone next to my 20-year-old butt. So when Gayle unearthed it again, I had a good laugh, told her an unrelated story or two about Larry (who long ago took on the much more serious and dignified moniker of “Lawrence”), and put the note into a small stack of materials designated for scanning and demolition. I scanned the note, put the JPEG image online in an album of UD photos on Facebook, and tossed the ancient scrap of paper into the recycling bin.

On top of the old story of my friendship with Larry that the note symbolized—the story of all the support, kindness, and patience he offered me through the rough years of college—I’ve added a new layer of meaning. The note now signifies my ability and willingness to transcend the “stuff” that I’ve imbued with meaning in my life, and instead to embrace and cherish the meaning in its purer form. We human beings love to create meaning—it is, to use the old cliché, “what separates us from the beasts.” We make meaning, we assign meaning, we collect and hoard and share meaning. Our lives become full of things that signify something to us, things that remind us of an event or person, some treasured experience or emotional state.

But things can never be more than just things. Paper can’t be more than just paper, no matter if King John or John Hancock or Elvis himself once handled it and wrote on it. And as much as we are free to assign meaning, it’s also in our power to take it away, to release meaning from the objects to which we’ve ascribed it and into the realm of pure forms. And so, although the paper form of Mental Note #7639471 has gone off to be recycled, the significance of Mental Note #7639471 will always be with me.

© 2009 Edward F. Gumnick

So the prompt is about food, food and place, foods that remind me of something, and so forth. The thing that I thought of first is probably the best approach on this one, and that was to talk about Rome. Of course it’s about Rome! My favorite topic. And the food in question is antipasto. Antipasto in the United States has come to have a fairly conventional definition—some cold cuts, a few slices of cheese, maybe some olives or a little fresh fruit. Nine out of 10 Italian restaurants will give you some variation on that theme. But those are only a few from among the many things that Italians would serve as antipasti.

Antipasti is the plural of antipasto. And as long as we’re talking about language, here’s what’s wrong the American idea of antipasto: all that the word means is “before the pasta.” And you can serve all kinds of things before the pasta. Sure, cold cuts are an option. Italian cuisine is full of wonderful cured meats—salami, mortadella (what we call “bologna”), prosciutto—and they frequently turn up on antipasto plates. And cheese turns up, too. And not just mozzarella. In Italy, restaurants will serve whatever they have, or whatever was good that day at the market. That’s really the only guideline for putting together antipasto—you serve what you feel like serving, based on what looked good at the market and what you felt like cooking—which is probably guided, at least in some cases, by what the cook felt like eating that day.

I’ve had antipasti that included assortments of freshly pickled vegetables—carrots, eggplant, cucumbers, olives—or roasted vegetables, or breaded and fried vegetables. My all-time favorite in nearly any form in which they care to serve it to me: artichoke hearts. The artichoke is king in Rome. It’s the centerpiece of Roman cuisine from the first harvesting of small, delicate buds in March all the way through the summer and into the late fall, when the last huge heads are served braised or stuffed and roasted. And speaking of blossoms, zucchini blossoms are another thing you’ll find on an antipasto place, usually stuffed with some kind of mild or soft cheese spiced with nutmeg and herbs.

The antipasto experience is typical of the Italian outlook on life. It’s not about blowing you away with the most expensive ingredients or an elaborate technique. It’s about taking things as they come and then finding ways to savor them. I’ve had antipasto plates that are a simple as a pile of olives drizzled with lemon juice and olive oil and served with thick chunks of rustic bread.

Okay, that’s all I’ve got for tonight. Out of gas.

© 2009 Edward F. Gumnick

Fragment #2

I want all of my life to be like these moments:

• The day that Continental canceled our flight out of Rome, so we spent the day exploring Ostia. We surprised ourselves with how much fun we could cram into one unexpected extra day of vacation.
• The day you led me through rush-hour traffic to Griffith Park, then showed me where the trail began. I was energized by your kindness.
• The day the cold front blew through the city, and then you took me to your soccer practice. It was too cold for me to spend two hours waiting on a bench, so I wandered the unfamiliar neighborhood until I found a coffee shop open. Then I came back and climbed up and down the pedestrian staircase to to the road high on the hill above the soccer field to keep warm. While I walked the stairs, I had a heart-to-heart talk directed at a silent God. I told him that I thought he was irrelevant, and that I’d listened to his people and their bad ideas for long enough.

This piece of art has been a fixture in my life for so long that I don’t remember any details of its creation. I have to imagine my parents, who would have been somewhat younger than the age I am now, hunched over the brown-and-white Formica kitchen table, sorting the tiny tiles and organizing them into rows. I picture Dad arranging the chaotic blocks of solid color that represent the buildings while Mom patiently laid out the orderly pattern of the sky. You can see a little wavering in the neat rows where the two sections of the composition come together. Maybe they miscalculated how many rows it would take to meet in the middle, or maybe one of them was fitting the tiles more closely together than the other. In any case, they found some way to make it work as a single consistent picture.

The City isn’t remarkable as a work of art. I keep it because the colors are pleasing and because my parents made it with their own hands. I also like that it seems outdated, a little retro, and that it gently connects me to every house I ever lived in with my parents. I think there’s something written on the back in pencil in my father’s handwriting, a date perhaps, but the mosaic is heavy and I don’t want to take it off the wall to remind myself what it says. I look forward to being pleasantly surprised by that writing again some day—or not—when I have occasion to take it off its hook, maybe to take it to the next place I will live.

I also display it because I like mosaic as an art form, so it’s kind of cool to have not one but TWO pieces in this unusual medium in my room. (I’ll tell you about The Fishies at a later date, perhaps.) My fondness for mosaic might be associated with my Rome fetish. The Romans were masters of the mosaic form at several stages of their history. At the ancient port city of Ostia Antica, a town that was abandoned 18 centuries ago because of the silting-up of the Tiber river, entire mosaic floors were preserved under the mud. They’ve been excavated now, and some of them are still in such good condition that visitors are permitted to walk on them. In the heart of Rome, pieces of intact mosaic floors are visible here and there throughout the Imperial Forum. This stuff could last forever.

A few weeks ago, I went to the Museum of Fine Arts to see an exhibit about Pompeii. One of the artifacts on display was a beautiful piece of mosaic floor. A simple design made of tiles somewhat smaller than the ones my parents used surrounded a central mosaic medallion of much tinier tesserae that depicted the Gorgon Medusa. A plaque on the wall explained the technique. The central medallion was designed to be removable so that if the owner moved to a new home, he could take the finer, more expensive part of the artwork with him.

I’m trying to imagine the house I’m sitting in as it might look if it were undisturbed by human activity for 20 or 30 centuries. If some catastrophe or sudden change in economic or demographic factors should drive us away from here, and assuming that climate change doesn’t send Houston once again to the bottom of a giant inland sea, how long would The City survive? Exposed to the elements, the wooden frame and backing would probably disappear in just a few decades. But it doesn’t seem unreasonable to imagine that the tiles themselves, and with a little luck, the mortar that holds them together, might survive.

What might some future anthropologists think of my parents’ cityscape? What stories might they make up to explain its meaning and its historical significance? What will it tell some future museum-goers about our culture and beliefs? I like to think about leaving The City for them. I’m sure some of them will like it.

© 2008 Edward F. Gumnick

“This is my city, and I am as much a Roman as anyone here.”

I’m excited by the task because I’m always happy to think about Rome. I can talk about it for hours and hours. I’m scared because so much has already been said about it that I can’t conceive of adding so much as one original phrase or fresh observation. (Even that statement strikes me as a cliché.)

And it’s hard to imagine expressing a rational basis for the city’s appeal for me. Sure, there’s all the history, the art, the architecture, the fountains, the pines, blah, blah, blah. But the city is filthy, it’s noisy, it’s falling apart, it’s damp, it’s full of tourists. And yet it compels me again and again, so I have to face the possibility that at least some of my love is irrational, and I don’t like thinking of myself that way.

So, down to work. The place? I can’t think of a favorite. When I try, I walk in my mind’s eye from one favorite spot to another. Rome is all about the walking. I could start at the end of the Via dei Fori Imperiali where it runs into Piazza Venezia, near where I took the panoramic photo last January—the one at the top of this page. Broken remnants of the glory of the Imperial Age are scattered at my feet. I try to envision ancient people walking on the decorative tiles on the fragment of floor a few steps from the sidewalk. I find that I can’t picture it. Cars race by behind me, horns blaring. I walk toward the piazza past a South Asian man who sells silk scarves and plastic souvenir Colosseums made in China.

A right turn would take me up the Corso, but I don’t want to go that way. It’s a noisy canyon of buildings that seems to trap the vehicle exhaust. Instead, I make my way around the bottom end of the piazza, even though that entails crossing four or five side streets, mostly without benefit of traffic lights. I dodge the current of taxis and buses like a native Italian.

I don’t know the name of the street, but by habit I find my way to a place where pieces of an ancient structure have been incorporated into the back of an 18th- or 19th-century building. Three columns look as if they’re lifting the modern construction up out of the excavation pit. The hole is separated from the sidewalk by an iron railing in front of which Czech and Polish expatriates sell magazines in Slavic languages. I look for a family resemblance. I wonder what subtle twists in history turned me into an American tourist and left these distant cousins of mine to become citizens of the European Union.

© 2008 Edward F. Gumnick