Feeling fine and Florentine

“The Tuscan Frying Pan,” Florence was earning its title that day, certified in sweat dripping down the backs and sides of tourists squinting in the Piazza della Signoria, and my hair felt, again, like one of those Russian fur hats. Time for a haircut. And wouldn’t you know it, Florence is the home of my favorite barber.

I went straight for the small shop, undistracted by the Basilica di San Lorenzo where one of my favorite Italians holds wishes on his tomb, not stopping at the old friend of a hotel (taken by a different Rick Steves group, the lucky buggers), and swerving around the periodic bulges of visitors whose shoulders relaxed bit by bit with every lick of their slowly melting gelato. Visciola e fragola? Va bene.

Old Town Florence is a tourism city for sure, and the crowds used to irritate me, but working as a guide has helped me see the ways they’re doing it right (improved traffic laws, cleaning the duomo, and coordinating the many marvelous sites) and given me an increased appreciation of the place and its importance in our collective past. So now they’re not the addled brains of people in my way, they’re international minds growing in appreciation and understanding of the birthplace of the Renaissance rebirth.

But yes, at the moment, I wanted them to move. I needed that haircut. Kindly get the inferno out of my way, signore. Before I get Borgia on your ass.

I made it. The slightly cooler confines of a barbieri who’s been cutting hair here since the 1970s and his colleague with a coif like Grace Jones on an ambitious day. They greeted me with their usual dignified and affable buon giorno.

Scissors snipped, buzzer buzzed, and when the razor had scraped the edges clean I felt like a renewed man, renaissance of the scalp. ready to stand on a pedestal if I must, sling in hand, and face the future with concentration and confidence and just a hint of gel.

Back into that Tuscan sun of fame and infamy, punishing and beautiful, try to escape it but don’t forget you traveled here to see it. Down the canyons of Medici streets, past Strozzi home and Brunelleschi dome, a little slower now, a bit more strut, something lyrical in between the paces. Feeling a tad more Italian.

Florence is a pilgrimage, and I wanted to pay homage to the great ones. Architects, poets, and the family of men who led nations, and they’re just the audience for the names we know. Galileo, Ghiberti, Machiavelli, and Dante, men whose deeds echo and dance and scheme and enlighten down through the centuries.

Then over to stand in front of the tomb of perhaps the greatest artist in human history. It was just me, the cooler air, dust motes painted by stained glass light slanting down through basilica space, and the tomb of Michelangelo Buonarotti.

He looked good. I looked good. Florence looked good. Travel, now that is good. Buon viaggio a tutti.

The Wizard of Oz and I

(This will make much more sense after part one, here.)

Outside Il Mago's shop, in Orvieto

An eruption of sound, light, and motion, as the world below my eyes kicked into life, overlapping music box jangles and blinking lights. I’d come to see the Wizard of Oz, tucked away in a side street of hilltop Orvieto, Italy, and now that same gruff wizard was standing beside me, lights reflected in his glasses and smile.

“This carousel is in the Jardin du Luxembourg, in Paris. The oldest in the city, from 1879.” Looking at his tiny faithful reproduction, I could imagine the generations of children that have sat and shrieked on the original Parisian horses.

“Here is a ride from Coney Island, in your country.” The little roller coaster car rose to the top and slid down the track, tiny wooden figures throwing their arms up in an unaging joyous thrill. His artisan finger worked down the row. “This is the ice skating rink from Toronto. The ferris wheel of London. The tea cups of Disney.” We moved among the world’s remembrances, sharing each one whether we’d ever seen it or not. Each tiny world, handmade by this artisan.

“When I was a boy, I knew what I wanted to be.” My assumption was beginning when he filled in the answer. “A cowboy!” He watched my grins over his bifocals for a moment before continuing. “I wanted to so much, that I did it, I ran away! I left my home and started towards Texas." Let that moment linger. "My mother caught me ten seconds down the road, gave me two big slaps, and brought me home. So instead of running away to be a Texas cowboy, I began to make things."

Orvieto is the sort of town where doing
things the old way makes sense.

Together we looked out over the delicate wooden toyscape of figures and memories. On the corner of his desk, beside the antique cash register, I noticed a familiar book. Seeing my glance, he picked it up. “Yes, Rick Steves. I am in his book. He came here and liked my work. Other companies want me in their books too, but they want money. It’s a commercial. Advertising. I am in Rick’s book because he liked what I do, so he put me in. That’s it. But I haven’t seen him in years.”

I told him Rick was my boss, that I was a guide, and that I’d learned of the toy shop in the current edition of the book. There was a hint of melancholy in the Wizard’s voice when he repeated “I haven’t seen him in years.” I assured him that even if Rick doesn’t have time, someone from the company comes around at least once a year to make sure we still believe in our recommendations, so we still appreciate his work. But there was something else.

Rick Steves and the Mago di Oz have something in common. Both are among the rare few who have created exactly the career they wanted. My eyes returned to one of the Wizard’s handpainted signs. Make your reality like your dreams, and your dreams into your reality. These two men have done that, and I can only imagine they recognized something in each other.

Nothing against minions, but compared
to the 12th century Moor's Tower,
they seem a tad chintsy

I was feeling a peaceful sense of satisfaction and happiness in the presence of this gentle man when the door opened to admit a woman and her son, from one of the bigger bus tours that feed people through Europe’s Express Lane. Her hand held the cheap plastic Pixar balloon he’d wanted for a moment, and neither greeted Il Mago as they entered his space. I watched him monitor them with the same tolerant caution he’d initially shown me, and was thinking how nerve wracking it must be to have unknown entities always lumbering among your treasures, cheap balloons bonking into handmade zeppelins, when the woman took out her phone and lifted its little factory eye.

“No photo!” The Wizard’s snarl was instantaneous and sharp. Blunt force reminder at an Italian volume. “No photo!”

How does one bring the fragile lightness of childhood into the tenacious heaviness of adulthood? Not easily, I thought, as I watched mother and son endure that awkward pause to save face before fleeing the shop. But it’s only appropriate for a wizard to be a little scary. Booming voices and flaring flames of castigation, and pay no attention to the man behind the curtain, with his gentle love of a gentler life.

No, the Wizard of Oz doesn’t let you take photos. But when a reminder of the texture of childhood is on offer, photos are not what you want anyway.

The Wizard did allow me one photo.
(Photo credit: some woman who did not take out her phone.)

The Wizard of Oz is Italian

The Wizard of Oz doesn’t let you take pictures. Looking around his close-shouldered toyscape of fragile wooden forms and clustered vintage artefacts, that was understandable. Besides, I already had enough photos from outside, Orvieto, back in normal Italy.

The walls of Orvieto

Out there, looking through a lens brings the whole world more into focus, reminding me to notice the textures of the quotidian, and aiding a more deliberate examination of our scrambling world. But in Il Mago’s workshop I didn’t need that precision, in his world I was better served by the flitting fancy of a childlike eye, overthrowing the diligence of inspection for the relaxation of entertainment.

Around, above, and behind me, colors clustered and shapes lurked in delicate extravagance. Art nouveau iconography lounged in evening wear behind nostalgic paraphernalia in pajamas, stained glass butterflies hovered above Betty Boop’s Route 66 diner, and a parade of metal giraffes and jugglers was on their eternal way to childhood’s circus. Hot air balloons drifted up among Spitfires and B-12 bombers held en route to battles uncountable. Cowboys and Indians with stagecoaches to match, while the flappers and mobsters surrounded stylish cars in a sudden sense of speakeasy jazz.

No photos in Oz, but Ippolito Scalza's
Pietá is too beautiful not to share.

Such was the cacophonic harmony of an unexpected piece of this world, created by that man, who watched me from under alert eyebrows like foxholes. There was something of a residual frown on his face, until he saw the smile on mine. Then he approached, real casual like. Was there a wisp of the masked diffidence one might find in an unapologetic adult who was once a teased child? I couldn’t be sure.

“Let me know if you have any questions.” He offered, smooth but stern as old wood.

“Thank you,” I answered, and for a moment he watched while I gazed. “But truth be told, I’m not even sure what questions to ask.”

Maybe not all passion is easily shared, but the Mago’s is. His artisanal fingers pointed here and there as he explained that he finds some of the pieces by careful search through trusted sources, but that he makes most of them himself. That alone was impressive, in our modern age of Made in China stamps and supply chains redolent with karmic consequences that may last even longer than the plastic we buy and throw away.

Tragedy! Crisis! Death! Don't read
such things, cara Nonna.

My brain wanted to walk down those familiar penal paths of today’s dire adulthood, but from his basics beginning, “They come from me”, he quickly transcended to a more dreamlike place, where his various mottos, handpainted on slats of wood, were the rules of the game: “Make your reality like your dreams, and your dreams into your reality.”

Maybe it sounds better in Italian, but in that place, it made perfect sense to me. I was nodding to the notion, but that didn’t seem to be the reaction he was looking for. “Put your dreams into your reality,” he encouraged me, and swept his hand at the array of silent creations. I had weeks of tour-work still to go, and putting one of his pieces of art into a backpack would be empirical blasphemy, but it didn’t seem like a sales pitch.

“Reach out and touch your dreams!” He was enthusiastic, expectant, and I felt like I was failing a test. “Reach out! Touch the dreams!” Reach out and touch? Was there a button hidden among the delicate arms and fragile beams? Feeling lame, my finger reached out, unsure whether to go left or right, so plodded straight ahead until it landed, just for a moment, right on the...

(Oops, late for work. See you tomorrow.)

Was Mussolini really that bad?

Griante, on the western shore of Lake Como

Mussolini participated in one of the darkest chapters of the twentieth century. Is that it? As a tour guide, I seek a deeper understanding that one-line summaries, so went looking for Mussolini and his Italy, on the shores of Lake Como, where he met his end. (Part one here)

Back then, Italy was a newly minted country with no sense of unity or identity, and a barely functional economy. Regions didn't trade, cooperate, or even speak the same language, and there was no one around who seemed able to make much progress. Picture morning delivery traffic in Venice’s canals, truck parking in the warrens of Rome, or crossing the street in the gladiatorial arena that is Naples. All shouting mouths and no ears, not a lot of progress going on. One of the things I’ve learned about the world is that some places need a strongman to get anything done. (The phenomenon of democratically-elected pseudo-dictators in Latin America is no surprise.)

Mussolini began under legal constitutional law, made Prime Minister by the king when everyone else was frozen into inaction. They feared his movement (which had taken over the Po River Valley) and thought he’d be content with a minor position, where he could be controlled and manipulated. By the time they realized their mistake, he’d outlawed or murdered most of the opposition. Then he got to work.

Looking at rampant unemployment in places like Venice, he created industrial zones and jobs. (That this industry greatly accelerated the sinking of Venice was unforeseen.) Realizing a nation that can’t talk amongst itself can’t function very well, he imposed a standardized Italian language, and nowadays most Italians can understand each other. WWI hit Italy extra hard, despite its peripheral position, because it was an underdeveloped nation; Mussolini developed it. He built roads and rail lines, creating jobs for a desperate populace and paving the way (yes, pun intended) for Italy’s current role as an important transportation corridor for the EU.

The streets of Varenna, on the east
shore of Lake Como

A chugging diesel piece of that transportation equipment came around the bend in Mezzegra, above the sparkle of Lake Como, and forced me to step back into a bland little parking lot. When it had passed, I looked across the unremarkable street and saw the unassuming wooden cross that marks where Mussolini and his mistress, Clara Petacci, were executed after being caught trying to sneak into Switzerland. It’s basically a driveway. Fancy house, gorgeous area, but still, a driveway.

Italian politics are murky these days, when refugees and immigration are putting a strain on a continent already pushed, and this country already stretched thin. In these times it’s easy for the less courageous, less compassionate sides of ourselves to say “This is ‘Their’ problem. ‘They’ are different. ‘We’ need a strong leader to resist ‘Them.’” So it’s not entirely surprising that the more racist elements of the Italian political establishment have begun invoking Mussolini.

A cemetery near where Mussolini died. Townspeople
memorialized with much more care and remembrance
than the fascist dictator.

He got stuff done and guided the nation during a time of crisis. He was also a murdering thug, from boyhood when he stabbed classmates and girlfriends, to adulthood, when he ordered the murder of an untold number. It’s tempting to call for a leader to make things go away, and let their soul pay the price, but to do so would be a grave injustice to our own humanity, and a surefire way to create a monster.

Not the sort of thing that can be solved with a simple....Mi scusi.

(And now the painful part. I somehow deleted a large chunk of photos from that part of the trip, including the walk up to Mussolini's marker. It's the sort of thing that drives a photographer, a writer, a blogger, and a tour guide insane, so I'm fourfold pissed about it, and I can't show you the photos I carefully composed of the marker, but trust me, it's not much. A waist-high wooden cross tacked to a garden wall with a little info sign and one photo each of Mussolini and Clara Petacci. The graves in a nearby cemetery for townspeople were much more loving attended to. That makes sense to me.)