3. THE GAMBERO ROSSO
It has begun to snow. At first just a flake or two like a fleeting dispatch sent from the world he has left behind, vanishing as quickly as glimpsed. Then a steadier fall, gently swirling, touching down, lifting up, touching down again, until the little square, or campo, outside the steamy window of the Gambero Rosso is aglow with a dusting of the purest white. Like a crisp clean sheet of paper, he thinks, and he is struck at the same time by the poignancy of this metaphor from the old days. For paper is no longer a debased surrogate for the stone tablets of old upon which one hammered out imperishable truths, but rather a ceaseless flow, fluttering through the printer like time itself, a medium for truth's restless fluidity, as flesh is for the spirit, and endlessly recyclable. The old professor sits there at the little osteria window, alone now with his reveries and musings, sipping the last of the fine grappa the landlord has offered him (he has forgotten how lovely the people are here, his people after all, to the extent he could be said to have any: how pleased he is to be among them again!) and staring out on the softly settling snow, letting himself be gradually submerged in a sweet melancholic languor. His erstwhile companions, perhaps sensing the onset of this pensive mood, have graciously slipped away for the moment, the porter to guide the blind hotel proprietor back to prepare the professor's lodgings for the night and to move the luggage up before returning for him here. Yes, blind as well as maimed. Upon leaving the hotel to come here, the unfortunate creature walked straight out the door and down the watersteps into the canal. "Now look what you've done! You've got your feet all wet!" the porter had scolded, pulling him out, and the hotel manager had whined: "My feet are all wet!" Which for some reason had made the professor laugh, made them all laugh. Then they had come here together, the ancient traveler in the middle holding both of the hobbling locals up, feeling quite jolly and youthful in spite of himself.
They had met no one en route except for a poor deranged drunk, shouting to himself in an empty campo, lamenting the hammerings he had taken and excoriating a no doubt imaginary untrue lover as though she were present, a deplorable reminder that even here, in the noblest of settings, loathsome disorderly lives are possible, beauty being no proof against asininity. Virtue, he had written (the line is now in Bartlett's) in his pioneering transdisciplinary work, The Transformation of the Beast, a "lucid and powerful prose epic in the tradition of Augustine and Petrarch," as it was widely heralded, standing as a fortress against the false psychologism of the day (there was perhaps in this work a youthful fascination with beastliness rather than its transcendence, since successfully purged, but it remained to this day the most convincing composite image of the Genius-in-History), is sanity. Indeed it would have done the crazy man in the campo no harm, what with all his ravings about untamable beasts and savage natures untouched by kindness and unredeemable evil fates (or fairies, his slurred ramblings were ambiguous), to have read that book before falling victim to his own self-fulfilling prophecies: natures do remain just as they first appear if they are completely mad. However, the poor creature, storming up and down a bridge over and over as though in the forlorn hope, a hope repeatedly renewed even when repeatedly baffled, that it might one time translate him to greater heights — up into one of Tiepolo's sky-high parades perhaps, though nothing so fair was above him now — did succeed in startling the professor as they passed by with what amounted to a demented paraphrase of another of his famous sayings, this one from the book the world best knows him by, The Wretch, his first essay in unabashed autobiography, stark precursor to Mamma, his current work-in-progress. Originally little more than a film treatment, notes for a storyboard, as it were, The Wretch had evolved into a program guide to the completed motion picture, sold in the lobbies, and from there into a comprehensive best-selling assault upon all the heretical modern and eventually postmodern (he was a man ahead of his time) denials of what in a famous coinage he called "I-ness," a masterpiece whose single message (other than learning not to be naughty and helping one's parents when they are sick and poor) was that each man makes himself and thus the world: "Character counts!" "Making makes the made mad!" is what the poor devil cried in his delirium, his voice eerily hollow as though coming from the other world. "Crackers! Curses! Listen to me and go back home!" Then he rushed to a church wall and beat his dark bony head against it, wailing forth his "Woe! Woe! Woe!" ("Guai! Guai! Guai!" — or maybe it was "Cry! Cry! Cry!") and eliciting from the beak-nosed porter in his role as the Plague Doctor the laconic remark: "That's what happens to people who get all their ideas on one side of their head, dottore: it tips their brains over."
He has been introduced here at the Gambero Rosso as un gran signore, and in truth has been treated as such by the beaming host, who seems to be chef, waiter, barkeep, and master of ceremonies all in one, as liberal with his wine as with his chatter, accepting their incongruous lot with that democratic grace and forbearance typical of the people of these islands, so leery of popes and kings alike, even joining them briefly for a plateful of stuffed pig's trotters and a Pinot Bianco from Collio, much recommended and indeed nothing amiss. On entering this simple inn with its yellow painted walls and tattered football posters and plastic wine barrels, he had felt suddenly that he had been here before, not in this particular osteria of course, nothing so mawkishly improbable as that — rather, it recalled for him all those village osterias of his childhood, too long forgotten, this one now their quintessence. What was it? A certain rancidity in the frying oil perhaps, the scrape of the cheap chairs on the wooden floors, the frayed napkins, a sharpness to the Parmesan on the tripe — whatever it was, he was overtaken by a sudden sorrow, and a sudden joy, as though life itself were reaching out for him in one last loving embrace, an embrace in which he feels himself still happily, if wistfully, enfolded.
Unable to sham an appetite which has utterly abandoned him in his weariness and excitement, the professor has nibbled at all the dishes for old times' sake yet eaten little, suffering, as it were, a mental indigestion of memories and anticipations churned up in the language by which he means to capture it all, the individual words springing up and flowering now in his head like golden coins on a magic tree, all atinkle with their manifest profundity and poetry. Zin! zin! zin! they go. I should be taking notes, he thinks. The blind hotel proprietor, likewise, complaining of a "grave indisposition of the gut, as it is called," said he could eat very little, settling in the end for a few modest portions of mullet al pomodoro, grilled cuttlefish, sea bass baked in salt, razor clams, and stuffed crabs, the house specialty, and finishing with sweetbreads and mushrooms, plus a simple risotto with sliced kidneys trifolato, smoked eels, and prawns with chicken gizzards and polenta, all of it consumed noisily from beneath the grim visor of his bauta mask, pressed upon his plate like a pale severed head, his one black-gloved hand left free thereby to clutch his glass, from which he seemed not so much to drink the wine as to snort it.
The porter, contrarily, protesting that the night's exertions had aroused in him a most woeful discomfort in the stomach that closely resembled appetite, declared that he intended to consume at one sitting all that the liberality of il buon dottore had bestowed upon him, down to the last quattrino, speaking in the old way, and in demonstration of this proclamation proceeded to devour monumental quantities of tortellini and cannelloni, penne all'arrabbiata, rich and tangy, spaghetti with salt pork and peppers, heaps of thick chewy gnocchi made from cornmeal, tender pasticcio layered with baked radicchio from Treviso, pickled spleen and cooked tendons (or nervetti, as they call them here, "little nerves," slick and translucent as hospital tubing), bowls of risi e bisi and sliced stuffed esophagus (the professor skipped this one), fennel rolled in cured beef, and breaded meatballs with eggplant alla parmigiana. His doctor unfortunately having put him on a strict regimen (and here the masked porter patted his overflowing hips plaintively), he was denied the pleasures of the fish course, but he was able, in all good conscience, to round off his evening's repast with a dish of calf's liver alla veneziana, wild hare in wine sauce with a homely garnishing of baby cocks, beef brains, pheasants, and veal marrow, a small suckling lamb smothered in kiwi fruit, sage, and toasted almonds, and a kind of fricassee of partridges, rabbits, frogs, lizards, and dried paradise grapes, said to be another famous specialty of the house and particularly recommended for persons on stringent diets. "Ah, that was its own death!" he exclaimed on crunching up the last of the little birds, his gravelly old voice greased now to a mellow rumble. "I'm full as an egg!"