You can be the center of the world

      "I'm listening," announced the waitress, walking up to our little round table at a small bistro called "Le Centre du Monde" on Rue Galande not far from Notre Dame Cathedral in Paris Monday night. I asked her if the salmon in citrus sauce is good. She gave me a curious look, as if I had asked something exceedingly obvious.  An almost insulted look that said, "Of course it is."
     "It is ... in citrus sauce," she replied, and I took that as a confirmation, of sorts, and ordered it, even though I had already had salmon at lunch.
     The fish was more than good, it was excellent, served with rice and ratatouille, and as we ate I asked my son if "I'm listening" is a common French idiom, something waitresses typically say to prompt an order. No, he said, he didn't think so. Maybe it was particular to her.
     I considered asking the waitress, a majestic Gallic beauty. But that seemed a Bad Idea.
     Perhaps as compensation, as we headed out the door, I asked a passing waiter why the restaurant is called, "The Center of the World." He laughed, a short, derisive laugh, the laugh an unkind person would make seeing a stranger trip and fall and hurried outside to smoke a cigarette.
     But as we stepped onto the street the owner, an older man--okay, maybe he was my age--followed us out of the restaurant. I asked the question again.
     "This used to be a Roman road," he began, gesturing to the narrow cobblestone street in front of the place. "The Romans built them east to west. About 100 meters away is Notre Dame Cathedral, which is the center of Paris. Distances of the various roads to Paris were measured from that spot."
     He went on quite a bit, saying, in essence, France is the center of Europe and Paris is the center of France and this is the center of Paris."
     "Now of course we know the world is round, so the center is..." He gestured down below. " Now the center of the world can be anywhere. You can be the center of the world."
     I understood what he meant, and thanked him. "The dinner was excellent," I said.  
     He gave me a surprised look, as if to say, "Of course it was."

This is not a post

 
   There will be no post today. The internet in my apartment in Venice is balky, and while I can for some reason tap letters into my phone with the tip of my left index finger, I can't use my iPad or attach a photo, which throws me off my game even more than usual.
     Unless this notice, telling you there is no post, actually is ITSELF a post. That would make it something of a paradox, a koan, exactly the sort of mental calisthenics I reach for when I have all my fingers at my disposal.
     Or perhaps it is just a contradiction, the way the stillness of the Sistene Chapel is periodically punctuated by booming, amplified cries of "Silence please" and "No photo!" The later edict was respected by the hundreds of visitors craning their heads to look at Michelangelo's triumph. I also complied, reluctantly, knowing that no photo could do it justice anyway. Which leads to another paradox: due to technical difficulties, I can't post the photo I didn't take.

Only two years to go ...

     I'm technically on vacation. But this tidbit was lying around, and might bring a smile.

     Facebook and Twitter and Gmail, Linked-In and Snapchat and Instagram—there are so many ways to communicate. And I'm not even talking about individual sites. I went on my Berea High School web page, after not having gone on since 2009, and found all sorts of messages from classmates who had written to me, never realizing I wouldn't check back.  I felt bad that they had reached out and I hadn't responded.
     Then there was this conversation. Though I don't know if he just lost track of it, found it, and replied, or what. It's not as if I could ask and get a straight answer. I do know this, however: I am blessed with two sons who are both smart and deadpan.  The rest I can deal with.
     I think the exchange stands on its own:

     
    

Botticelli, ripped from the headlines

 

     Some things are obvious.

     Not the painting "The Calumny of Apelles" by Botticelli. That isn't obvious. Almost subtle, actually, hung as it is immediately to the left of the enormously big and enormously famed "Birth of Venus" at the Uffizi Gallery in Florence. Such a magestic masterpiece sucks up all the attention. So the relatively modest, relatively unknown 1495 artwork hardly gets a second glance from most visitors, who don't get close enough to even be tempted read the explanatory text on a card next to it. 
     But I did. Because I gave it a long look. Since it is an enigmatic painting. And I wanted an explanation. Which I got. This is what it says:

   On the right King Midas, poorly counselled by Suspicion and Ignorance, prepared to judge the victim of Slander, who is dragged by the hair by Calumny and accompanied by Fraud, Deception and Spite. Repentance looks at the naked Truth, who raises her eyes to heaven. 

     I don't have to say another word, do I? Some things are obvious.

Take better vacation pictures

     By the time a man is in his 50s, he's lucky enough to hold onto his oldest friends, who have a tendency to drift off, move, die, embrace loathsome political beliefs, or otherwise become inaccessible.
     Never mind making new friends. 
    However, unusual, traumatic experiences can forge new friendships, even in the gathering twilight. Floods. Earthquakes. Writing a book together. Thus I was pleased and surprised that, even though the rigors of collaboration passed, that my co-author Sara not only didn't part enemies, shaking our fists at each other in mutual creative disagreement, but actually seem to be keeping in touch. 
    She returned from touring Japan a few weeks back, and shared some of her excellent photos—readers with steel trap memories might recall the post I did on her charming cat portraits, done pro bono for New York City area shelters, trying to help find their kitties homes. But these travel shots are even more impressive, and they offer insight into how to take better vacation photos.  

   1) Three salarymen taking a selfie: Here Sara masters a concept that is very difficult for many of us to wrap our heads around even when we're not taking photographs: other people. How many vacationers feel the need to obscure every landmark they come across by including their own precious selves? Who would no sooner take a local person's photo than they would pick his pocket? Why photograph strangers, they exclaim, not realizing that is very close to asking: "Why travel at all?"
    When the truth is, you know what you look like, and being in the midst of a trek around the globe doesn't really improve matters. Forget the Kilroy Was 

  Here documentary proof and keep an eye out for people who live there, especially when they are concentrating on doing something else, such as this trio. Caught at the moment of saying chizu which is Japanese for "cheese" and what they actually do say over there when snapping photos. 
     2) Mom and schoolgirls (left). When you do want to take a photo of your traveling companion, try to get them doing something rather than just standing there, as in this picture of Sara's mom, who she went through Japan with, taking a photograph for a group of students.
      3) Bamboo trees (atop blog). The flip side of the Other People concept is the No People at All Concept. Look for patterns, for interesting juxtapositions, like these achingly straight bamboo trees crossed by a perpendicular fence.  Be aware of colors, and when you realize that chalk white and brush brown are colors too, you'll be on your way.

   
     4). Branches in water (right). Look up. Look down, to find unusual perspectives, like these branches reflected in water  Trees reflected in water along the Philosopher's Path, a serene retreat near Ginkakuji in Kyoto.  This one is intriguing because it takes a moment for the eye to grasp what you're looking at—not up, into the sky, but down, into a channel of water, reflecting branches and clouds and blue. It's almost like a little riddle, a koan, waiting for the viewer to come along and solve.
     5).  Look for details, like these kimono buttons at a flea market (below) Details bring you into a location, make it very tactile and real, and will show how far you've come from the tiny-people-standing-in-front-of-a-distant-monument Kodachromes of our parents.

    6) .Don't mug for your selfie. There's nothing wrong with taking your own picture, but that doesn't mean you have to offer up an expression like Betty Boop trying to blow a bubble. I like how Sara isn't looking at the camera here, in front of a temple gate, how she manages to get a bit of the ancient wood in, and goes for an interesting angle by holding the camera up and away. 
     Not everyone would be willing to share their vacation pix with the world, so thanks to Sara for allowing me to show them off while I'm away, taking my own vacation shots, which I'll no doubt be sharing soon too.
   
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Italy Flashback #4: Road worrier misses home

     I'm on spring break. And since my older boy will soon be exploring Venice, I thought I would reprint a column from when I visited there in 1999.

 

Venice, by John Singer Sargent (Metropolitan Museum of Art)

   DATELINE: ABOARD THE EUROSTAR TO VENICE — The moment I opened my laptop computer on the little pale gray fold-out table at my seat on this lovely Italian train, flashing through the Tuscan countryside at 90 miles an hour, it struck me:
      "This is it. This is the dream. The success fantasy from all those financial security TV commercials."
     You know what I'm talking about. Those companies — and I have no idea what they do. Something financial. They take your money and, in theory, give you back more money, keeping a bit for themselves.
     Anyway, you see them all the time on TV, flashing images of the kind of good life you'll enjoy if you do business with them. You'll stride across cobblestone streets while pigeons take flight. You'll confer with colleagues, eat room service breakfasts, climb into luxury cars.
     And, inevitably, you will curl up with your laptop in scenic spots -- on mountaintops in Katmandu, beaches in Bimini, at the end of rustic wooden docks in Maine and — I was thrilled to realize — on foreign trains while terra-cotta towns fly by.
     I've seen the image 100 times.
     Reality of course doesn't quite measure up. Those men floating across the globe like milkweed tufts seem so at ease, so happy.
      Even after two hours on the train, listening to light pop music on the tiny pair of headphones they give you, even after the nice man came by with the trio of fancy cookies handed out in first class (second class gets a trio of malt biscuits), I didn't feel quite at ease, not the International 1999 Businessman in Motion.
     For one, I was worried about being robbed. Sports columnist Rick Telander, a man projecting an air of calm, competence and control, got back from Italy the week before I left, and reported the only flaw of his trip was getting his briefcase lifted on the train. This was deeply troubling to me. I figured, if it happened to a cool character like Telander, who played one-on-one with Michael Jordan, what would happen to me? Robbed and beaten and left naked and weeping by the side of the tracks. In the rain. In Italy.
     So whenever I walk the 10 feet to the bathroom, I have to fold up my laptop, tuck it under my arm, and cart it with me. And even then, I cast a long, appraising look at the pair of innocent, grandmotherly types dozing in the seats across the aisle from me, trying to determine if they were tensing to leap up and rifle my luggage the moment I step into the bathroom.
     But they haven't, yet. In fact, none of the thieves waving newspapers and pickpocketing people that every guidebook warns about in five separate places have made an appearance. I've been wearing this stupid money belt, fishing around in my pants like a man with a rash, for a week, for no reason. Nobody has so much as asked me for spare change.
     Perhaps because I've been gone for 40 days — the same amount of time, I realize now, that Noah was on the ark. I don't know how people in times past traveled for years. Even with Venice before me, the city of Thomas Mann and Henry James, do you know what I find myself thinking about? The bratwurst sandwich at the Berghoff stand-up bar. Awash in mustard and sauerkraut. Fresh rye bread. Companion pickle. Stein of cold Berghoff brew. I'm not saying that I won't enjoy Venice. But that's not what, at this point, I'm really, honestly, looking forward to. Maybe some people aren't made to travel.
                          —Originally published in the Sun-Times, July 6, 1999

Rome flashback #3 -- You don't have to Catholic to dig the Vatican

     I wasn't exactly a simpleton as a young man, but re-reading these columns from 1999, they do have a certain gee-whiz quality that was wrung out of me in my 40s and 50s. Don't get me wrong, I'm still looking forward to going back to the Vatican someday very soon. 

Interior View of St. Peter's Basilica in the Vatican, by Giovanni Piranesi (Metropolitan Museum of Art) 

     VATICAN CITY—As a good Jewish boy, I don't know why I felt the need to bolt here the moment I got to Rome, even before seeing the Colosseum or the Parthenon or any of the other scenic piles of rubble that define this ancient place.
     My father, with whom I'm traveling, certainly had other priorities. He wanted to see the synagogue -- he always wants to see the synagogue in every city, though he doesn't go at home regularly. I think it makes him comfortable while abroad, the way some people go to McDonald's.
     But the synagogue in Rome, which turned out to be guarded by four cops with machine guns, wasn't on the top of my list. The Vatican was.
     I'm not certain why. I can't recall anybody grabbing me by the shirt front, drawing their face close to mine and babbling that St. Peter's Basilica is the most fantastic place ever constructed, the boldest architecture ever to rise out of the human mind, and to see it is to impoverish every other wonder you've seen in the world.
     But it is. Or it was, for me.
     Perhaps it was that my childhood was spent building things out of blocks. The square in the Vatican is what a child would build if he or she had all the blocks in the world. An enormous dreamscape flanked by curving colonnades of paired columns built around a gigantic Egyptian obelisk.
     And that's just the appetizer. As grand as the square is, it contracts to nothing and falls away the moment you step inside the Basilica. The interior nearly defies language. The first thought to fight its way out of my blown mind, boggled from the dim enormousness of St. Peter's, was that here is the limit of communication. Mere words—"gigantic," "soaring," "grand," "wonderful," "119 meters tall"—struggle to get anywhere near the reality. No photos, video, CD-ROM would offer more than a whiff of the collect-your-jaw-off-the-pavement impact of the place. You just have to go there.
     I don't mean that as a bland cliche—that a person has to go to the Vatican to appreciate it. I mean that as a specific command—that you, the particular person reading this right now, must go there, if you possibly can. Sure, it costs money. Maybe you can't afford it today. But it's something to shoot for. I'd make the 10-hour plane trip just to walk through St. Peter's for an hour, then go home. Really.
     And I'm not even Catholic. I can't imagine the effect on people to whom the images are more than bravura examples of art and architecture. It must be overwhelming.
     Many of the adult Catholics I know do not have the most charitable feelings toward the church, and they couldn't see the Vatican the way I did, without baggage, as an amazing structure erected by one of the world's many faiths. A Catholic co-worker, hearing me praise the Vatican as the gem of Italy, contorted her face in a mask of disgust. "I hated it," she said, adding that it seemed obscene in light of all the coins they dropped into collection plates for the poor each Sunday.
     Well, yes, I can see that. Perhaps there was something disloyal in my embracing the Vatican. But that's how I felt.
     The Basilica provided an hour of respite from hard feelings, a misericord, to use the church's term. It was emotional and not intellectual. I tried to remind myself to be offended, but it didn't work. As I made a slow circuit of the place, from Michelangelo's Pieta to Bernini's canopy and back, I tried to tell myself that this was the stone proof of how the simple teachings of a carpenter's son could be inflated into a fever dream of power and splendor. That this was the marble pep rally for every pogrom over the last 400 years.
     But I didn't believe it. Maybe I was duped by deft stonemasonry. But I found myself thinking as I walked, head tipped so far backward at times I almost lost my balance, "Of course they'd repress dissent. Who wouldn't, coming home to this every night?"
     Perhaps it boils down to the question of whether you can separate artwork from the circumstances of its creation. In my view, that's like not enjoying your dinner if the chef is a Republican. You can let matters of politics influence matters of taste, but why?
     And the Catholic Church, if not perhaps a force for universal good, isn't burning heretics anymore. Times change.
     Besides, I left puzzling over a deeper mystery. St. Peter's was built almost 500 years ago. For the last half millennium, people have been making pilgrimages to it, and coming away, as I was, amazed. A thousand years from now they will still be visiting, still be amazed.
     And what have we done, in this brief century, that can compare? Are people going to file by that first McDonald's, preserved as a museum, in awe of the splendor of franchising? Maybe the power of our science and ideas will amaze future generations. But I don't think so. As my visit to St. Peter's shows, a tall ceiling will trump ideas every time.

          —Originally published in the Sun-Times July 4, 1999