Skip to main content

Roman Pizza, Mouth of Truth


In 1983, I made my one and only trip so far to Rome, Italy. I was in the eighth grade; at least, I'm pretty sure this was the spring of '83, not the spring of '82, when I would have been a seventh grader. It was one or the other. My parents and I visited Rome (click here to read the "Bambini!" post about our initial experience in the hotel), then we went down to Brindisi to catch the ferry boat to Corfu, Greece, and finally we ended the trip in Athens. I remember many things about our days in Rome, but for all of us I think the highlight was not so much a museum or other physical location that you'd find in a guidebook as it was our human guide, John. (Here I beg forgiveness for the abbreviation and the Americanization of his name. The original certainly began with the Italian prefix Gi-, but he was only ever "John" to me. I don't know his actual, full given name. Giovanni, perhaps.) John was everything you'd expect him to be—everything you'd dream of if you'd never had a Roman holiday and wanted one that conformed to the typical idea of Italian charisma and flamboyancy. He had an exaggerated personality, which was probably his authentic character in large measure, but also cultivated in part. John drove us to Ostia, the ancient port town, now dry and desolate (if you can manage to go at a time when the site is not overflowing with tourists, that is). I remember the color combination of earth-toned ruins, greenery in the form of grass and umbrella pines, and the ubiquitous black and white mosaics. In Ostia, John made us give up our "grip and grin" family portraits (in front of this or that monument, our poses and expressions the same—delighted but boring—with only the stunning backdrop changing). He took us to Ostia's public toilets, a row of twenty-four surprisingly modern looking toilets (or toilet-shaped holes) carved into an L-shaped marble bench structure. The picture John took of us there is certainly one of the best, if not the best photographic souvenir we've ever had taken of us as a group. Later, I'd be asked to stand alone on the stump of a pillar for a photo; John was the one who coaxed me into a pose like the statue of a Roman goddess—or as close to it as my awkward, teenage self could manage (I was a goddess with braces on her teeth, and a timid extension of the arms). John also pointed out the best places for us to eat, or the most entertaining. This is when I think of the Mouth of Truth (La Bocca della Verita), and of Roman pizza. We'd already had one sampling of pizza since coming to Rome, in a cozy little restaurant down below the Spanish Steps. I remember being very surprised, because it was nothing at all like the pizza I knew back home. For more than a decade, I'd been eating what I assumed was Italian cuisine, but of course now I recognize that the American versions of ethnic dishes are often much more American than they are examples of the home country's cooking. Our pizza is so doughy and undercooked, the cheese generally bland. In Rome, I ate my first brick-oven, paper-flat-crust pizza, burned at the delicate edges. It was crisp and salty, and delicious. So, I knew what to expect when John directed us to an Italian pizzeria—at least in terms of the food. That afternoon, we'd been to visit the famous "Mouth of Truth" at the church of Santa Maria, in Cosmedin. The statue is a giant disk that looks like the mask of a fierce river god; it is said that originally it was either part of a fountain or else perhaps a drain-pipe cover. Into the giant stone face is carved a hole for a mouth, two for eyes. The legend, born of an infidelity story, is that the mouth would shut upon a liar's hand, cutting it off. In the movie Roman Holiday, Gregory Peck takes Audrey Hepburn there and plays his own practical joke on her, pretending that his hand has been severed by the mouth (watch the clip on YouTube and ignore the Japanese subtitles). We had gone to see this attraction and had all left there with our hands intact and a growing appetite for lunch. In whichever restaurant (I cannot for the life of me come up with the name), John sat with us, which he had previously refused to do. While waiting for our food, he got up and asked me to follow him. He led me down a flight of stairs and then turned me around. On the wall hung a much smaller version of the Mouth of Truth. He asked me if I liked Rome, and when I said I did, he asked me to put my hand inside the mouth to see if I was telling the truth. I did, and was shocked by a loud buzzer and red lights glowing in the eyes. I jumped a mile, then ran upstairs to convince my dad to come down after me. When I tried the joke on him, he also jumped out of his skin, nearly hitting the low ceiling with his 6'2" frame and exclaiming "Shit!" which I of course thought was hilarious. Despite the rigged mouth's judgment upon us, what we'd said was true: we did like Rome, loved it in fact. We loved John, too, with his grand Italian gestures and sense of humor. I'd love to go back someday. Until I do, I have a couple of souvenirs: photos at Ostia, plus a small gold replica of the Mouth of Truth on a charm bracelet. And of course, always, I'll have a collection of fabulous memories.

Comments

Popular posts from this blog

Tap Root Manuscript

Here is an early music memory: I am very young. If not still a toddler, then not much older. I am running around the living room, squealing with unrestrained delight, while my dad chases me to the tune of "I Am the Lion" by Neil Diamond (Ba-pa-la ding-ga!). He's reached deep down and pulled out his big baritone voice—the one he also used for "Old Man River" on occasion; the one that always awed me. It's the early 1970s, and although hopelessly pop and showy, there is no shame in liking Neil Diamond. Not at this time. Later, I'd go through nearly two decades of keeping this (admittedly) often schmaltzy artist at more than arm's length. When I bothered to remember Neil Diamond, which generally I didn't, I thought of him more like a skeleton in my musical closet; a dirty little secret that, if exposed, would set me up for some heavy razzing from friends. I don't remember when it was that I recovered my dad's Tap Root Manuscript album. It wa...

Black Kids Read, Too

The worst kind of prejudice is the kind that slips under the radar. It's too subtle to cause a stir (and if you point it out, you'll usually get a sideways look: you're the one making too much of nothing), but its corrosive message nevertheless seeps in—subliminally, insidiously—beating down the spirit of the group it belittles or excludes. I am blessed to have been raised by two parents who were sensitive to prejudicial undercurrents; they fought against them in their own distinct ways through the tumultuous 1960s, and into the 70s and 80s as I was growing up. And it seems, thinking about it now, that they never missed a good learning moment with me: we often discussed issues of bias, prejudice, stereotype, and their harmful effects. This week, images in some of my kindergartener's reading books gave me pause. And in wrestling with how to handle these, I remembered something I hadn't thought of in many years: the library at the Brentwood Science Magnet School in ...

Touch Typing

Between seventh and eighth grades (or between eighth and ninth?) the deal was this: if I wanted to take an art class in summer school, I had to take typing. So said Mom. Although I didn't mind being in an art studio soldering bits of stained glass together, the thought of staying inside, seated in front of a typewriter when I could see the sun in its beautiful blue sky out the window, was torture. Still, I sat there. Such is the suffering one will endure for art! I typed the home keys in order, hundreds of times: a-s-d-f-g-h-j-k-l-;. I stretched my fingers up for T and Y and down for B. I did pages of the prototype sentence, "The quick brown fox jumped over the lazy dogs." Yes, it has every letter of the alphabet in it at least once. I learned to automatically put two spaces after each period. (I have had a hard time undoing this habit, but a copy editor's job these days is often to make sure there is only one space following a complete sentence!) It's fair to say...