We had our first poetry workshop last night. I learned most in my cohort have at least one published book. It's OK to have imposter syndrome now, I told myself. Everybody's work is different, and it's fun to hear different writer's voices come through. This is what I'm trying to figure out here. Not only how do I get my poetry to the next level, but how can I use a consistent, recognizable voice? I love the anticipation in music when you hear the opening notes of a song everyone loves. I want to have that kind of style with language. This just takes incredible concentration and focus, and when you're in a new place with interesting people, it's much easier to talk than work.
I shared a three poem sequence blending music and a love relationship, a kind of narrative arc from initial meeting (was it the man or his music?) to the dance of figuring out what the relationship is supposed to be (playing backbeat to his lead, waiting for my solo), to the disappointment in failed hopes (My story is a tired one). When I was deciding what to share at lunch, Kim A. said it was fine to bring something we'd been working on. We didn't have to share new work. I thought, maybe I can figure out which of these three voices works the best. The feedback was fairly positive, and I noticed people's interest didn't wane as I read for almost four minutes.
I could tell I offered too much: overwhelming details and storyline left people trying to comprehend before they could comment and critique. I've been told this before. My thesis advisor challenged me to reduce every poem to 12 lines. "Then you'll have something," he said. Well, I'd have to edit too many good ideas and I'd lose the music of the language and the surprises sprinkled throughout. That excuse has blocked my improvement, I must admit at this point.
I guess I'll just put this sequence aside. Maybe this wasn't the wisest thing to do: start out with oversharing and overwhelming my new poetry gang. I just want these poems to work.
***
End of pity party and on to beautiful Orvieto. Edmund gave us a map, a tourist list, and an orientation on the bus before we left. He mentioned a beautiful Etruscan well with a staircase all the way to the bottom, and I thought I'd like to find that. When we arrived at the bus plaza, our group self-sorted and Cynthia joined me to power walk through town. I'd been sitting too much, so I was excited to wind through the medieval-width streets, which proved to be quite hilly. Each block had a different set of colorful flags, many side streets, plus alleyways of interest. I loved the enamel emblems and the blue and gold flags especially. From the bus stop to the top of the hill, we twisted and turned and heard the vroom of old mufflers.
Today was the Orvieto stop of the Mille Miglia, a classic car "race" that was established in 1927 by two Italian counts. After too many deaths in 1957, the race has been resurrected as a car show. The noise was annoying, but the excitement infectious. About two dozen cars drove by. Every single co-pilot seat was occupied, unfortunately, as I would have been willing to jump in and navigate. It had been a long time since I'd inhaled exhaust not filtered through a catalytic converter. We couldn't avoid them as we headed toward the cathedral, taking note of every gelato store for a stop on the way down. The heat index was starting to rise and the next week would be a hot one in central Italy. So many beautiful cars chugging through Orvieto, with a group of journalists and photographers documenting them in the plaza in front of the cathedral. What a show.
Inside the cathedral, I headed toward Luca Signorelli's famous frescoes in the San Brizio Chapel located on the right side. I found where he had finished Fra Angelico's first frescoes, begun over two hundred years before, at a smaller side chapel. The San Brizio Chapel images were really disturbing, to be honest. Signorelli's imaginative renderings of what would happen to sinners was an unforgettable cautionary tale for human frailty. I wondered what it would be like to attend mass every day, with those devil-figures glaring or gleeing at you from their position above the masses of people in the paintings. Ugh. I'd have nightmares.
The chapel was pretty crowded, so I sat in a pew near the front of the cathedral, waiting for a break when I could take some pictures. Then I saw the side of a marble sculpture with what looked like a ladder sticking up from the back. Curious, I walked around the front and tried to figure out what was going on. The body of Christ was draped over the lap of a woman. Another woman rested her cheek on his hand. But the figure who held the ladder was confusing. I wrote these lines in my journal as I sat in a pew.
Who is the man with the ladder
tools of a trade - chisel, wrench -
that removed the spikes
from the dead Christ?
Did he shrink from the blood
or embrace the body?
Did he think about not hurting Jesus
or callously rip his hands from the nails?
Who is this man who delivered the body
to the Madonna?
Did he wrench the spikes
from the feet first
then one hand, rejoining
separated shoulders
after the other hand was free?
Did he carry him down the ladder
or lower him to another?
Who is this man wearing
the craftsman's hat?
Does he mourn his master?
I tried to imagine what the sculptor thought as he carved this marble. I've never had an art class, so I wasn't sure how to interpret the work. But the inscrutable expression on the man with the ladder stuck with me for days. Later, I learned he was Nicodemus, a member of the powerful Sanhedrin Council. He was one of only two members who had voted against crucifying Jesus. Nicodemus refused to accept Christ as his savior, but he did not condemn him to death. He asked to remove Jesus from the cross after he died, and in this image he's delivering the body to the Madonna. Mary Magdalene holds Jesus's hand.
The hat of Nicodemus was one of authority, not of a master craftsman. But this single block of marble, carved over a nine-year period, seemed to praise the trades. Another sculpture in the cathedral was a self-portrait of the artist Scalza who, after helping craft the organ, was selected to carve this Pieta. Imagine being an arts administrator for years and finally getting the chance to show your talent. Scalza didn't have many other opportunities. Perhaps some would call La Pieta a one-hit wonder, but I can't forget it. I'd love to know what the sculptor was thinking over those nine years of work.
After spending an hour in the cool cathedral, we went to a restaurant Edmund recommended called Vebo. Inside was a bar, upstairs a night club, and outside of the door a lovely, shaded alley. A woman came by selling African fabrics and crafts and when we said "no thank you" she turned her back to show a tiny baby strapped to her back. She walked up and down the alley, hawking her wares.
Wine for lunch is such an indulgence. We checked our map and decided we had enough time to find the Etruscan well and return to the van on time. The heat from the dark cobblestones was noticeable now, so we tried to stay in the shade. After about 30 minutes and a few wrong turns, we found the entrance. I didn't miss having a phone with GPS, because we couldn't get a signal anyway. The attendant told us a private family owned the well, and we paid our 2 euros to gain access to the stairs. It was pretty interesting, except that instead of water 200 feet down, they had a blue light. And, we couldn't go all the way down to the bottom. As we left through the gift shop, we agreed it was pretty touristy. Their patio was gorgeous, but the restaurant was closed.
I remembered the siestas from 2 - 7:00 p.m. from my time in Recanati two years ago and thought we should find some water if we could. We wouldn't find any in the Etruscan wells. Ironies - I love them in my non-fiction but avoid them in my poetry. Is it a good or bad thing I'm seeing absurdities and strangeness when I'm supposed to be focusing on images and emotions?
About two blocks from the well, at the edge of Orvieto's ramparts, we found a wine store with water bottles. The woman outside the shop pointed us inside and a delightful man was thrilled when I asked him about local wines. I bought three whites for a wine tasting I spontaneously decided to plan. The Trebbiano Spoletino is known for "complexity and finesse, aromas of citrus and floral notes of acacia, chamomile, and honey." Terracruda Incrocio Bruni 54 was created in 1936 by Prof. Bruno Bruni, who crossed Verdicchio and Sauvignon Blanc. I hadn't been able to find any good Verdicchios in California after I discovered them in Recanati, so I had high expectations for this one. Per Edmund's recommendations, I bought an Orvieto Classico Secco, a blend of Chardonnay, Sauvignon Blanc, Procainco, and Grechetto grapes unique to Italy. This was supposed to be "dry with a hint of almond." These three wines should be lovely in the evening. When it came time to pay, the shop proprietor said, "Get the boss outside" and his wife came in. Their laughter and enthusiasm for wine and life exemplified "La dolce vita."
About 150 meters from their shop, we found the northern ramparts. Back at the bus stop, we learned we'd gone to the wrong Etruscan well. But we had found the best perspectives. Views of the vineyards, small churches, and stately watchtowers inspired a thought: retiring with this view would be pretty sweet.