Going to the country
If you’ve either flown into/out of Venice, or driven into/out of Venice, you already know that the mainland (a/k/a “the rest of the world”) involves a surprising amount of farmland. Or fields, anyway. It’s not Kansas, true, but there is a noticeable amount of cultivation going on.
Back in Venice, we have a first-rate country option which doesn’t involve going over the bridge. Or getting in a car. We go there in a small boat, rowing.
It’s the island of Sant’ Erasmo — the largest island in the lagoon (3.26 km/s, or 1.25 square miles), though that isn’t what makes it worth knowing about.
It’s farms. Or better, market gardens, though some of them are larger than what we usually think of as gardens, unless the garden were to be Longwood or Stourhead or the Villa d’Este.
I have mentioned Sant’ Erasmo from time to time — odd, perhaps, when you consider that it isn’t on the way to anywhere, and that if you’re not interested in vegetables or biking or mosquitoes, there isn’t much reason to come all the way over here.
Ninety-eight percent (I made that up) of the island consists of comfortably large plots of grapevines, artichokes, peas, asparagus, and whatever else is likely to grow in its appointed season.
The words “Sant’ Erasmo” scribbled on signs stuck among the produce at the Rialto Market always means something special (fresh, local, really good). I eventually discovered that (A) the label isn’t always accurate (fancy way of saying “untrue”) and (B) that I can get them at the source itself. This has made me insufferably demanding now. That may seem a little silly when discussing mere vegetation, but I can taste the difference, and I can really taste how much less expensive they are than at the vendor’s stall in the Big City.
Shopping for vegetables is also a great excuse for an excellent row across part of the lagoon.
We have two sources, so far.
Our first option is a modest but flourishing commercial operation called “Sapori di Sant’ Erasmo” (Flavors of Sant’ Erasmo — not a bad name unless you’ve come here often enough to associate the island with the flavor of mosquitoes). It belongs to Carlo and Claudio Finotello and there is virtually always someone there, ready to sell you some of their produce. If you’re lucky, also a bottle or two of their wine. I don’t drink, but I’m very happy that there’s a place where you can get some real local Raboso.
The second option is the modest but variegated plot belonging to a man — actually, his aged parents — two steps from where we pull the boat onto the beach near a rumpsprung bar/restaurant called Da Tedeschi. He’s been known to buy artichokes from him that he’s just cut off the stalk for us. Tomatoes, lettuce, cabbage, cauliflower, eggplant. Only problem is, he isn’t always there. And/or there’s nothing growing that’s ready or that we even slightly want.
The other morning we went ashore near the second option: The plot near the beach, where we found the man (I still don’t know his name) and his brother (ditto) tilling the soil by their parents’ house. Parents nowhere in sight. This is what kids are for.
The older man got to talking with us as we watched his brother working the soil with a broad hoe, preparing it to be sown with tiny little Ukrainian onions all ready to take root.
He imparted the following fragments of information: He retired three years ago after 45 years as a master glassmaker on Murano, work which he started when he was 12 because back then, not so many people went on to study and besides, he didn’t like studying all that much.
That there used to be a big acacia tree right over there (pointing toward the beach) that put out pink blossoms in the spring. They would pick the blossoms, then bread them and deep-fry them, the way people do more commonly now with zucchini blossoms. His expression as he remembered this delicacy told me that it was worth experiencing and that he misses it. I’ve never tried fried acacia flowers, but after having seen his face, I resent the fact that I never had the chance to.
Artichokes: Everyone, even I, knows that Sant’ Erasmo is famous for its “violet” version, and that the salty soil is one factor in their flavor. What I didn’t know is that one plant will put out roots to create four or five other plants, and that a normal plant will produce up to 21 artichokes.
I have now also learned that they can’t be grown in hothouses. You’ll be glad to know I can’t tell you why (we’d be here all day, at this rate), but I believe him when he says that under the big top the plants grow unnaturally tall, produce fewer artichokes than normal, and that the artichokes they do produce are kind of — he made a soggy, wilting sort of grimace — what they would call “fiapo” (FYA-poh). Fiapo is what happens to your grilled-cheese sandwich when you have to leave it to go answer the phone. People can also be fiapo, usually in August.
Unfortunately, artichokes from Sant’ Erasmo have one thing in common with pieces of the True Cross: There are too many of them to be real. In fact, artichokes from Livorno, which are trucked over to Venetian markets, come in so much earlier than the Sant’ Erasmo product that labeling them as local eventually caused serious protest. Telling that little fib will get you a fine, if you’re caught.
Then there was the year of the Big Freeze: His friend had 1,300 peach trees on Sant’ Erasmo. They were all destroyed.
But then there was this: The year of the Big Acqua Alta (Nov. 4, 1966, as all the world knows), was the only time Sant’ Erasmo has gone underwater. In fact, he said, the island was like a semi-submerged barena. Nobody had ever seen this happen, but there were two results.
One: All the crops were totally ruined by the salt water soaking. No surprise there.
Two: The following year, they had a mythically great harvest of just about everything. Whatever the Adriatic had taken away with the flood, it more than gave back the next year by means of whatever elements it had brought in. I don’t believe it was just salt, because salting the fields has been a time-dishonored way of destroying future crops for several whiles.
Lino supports my theory that the tide brought something that the salt couldn’t vanquish, because he said that when you raise a sunken boat out of the lagoon, it’s covered with the finest conceivable layer of some kind of material. I’m imagining melted earth that’s been clarified, like butter.
Anyway, that’s just my theory — obviously the fields knew what was happening, so let’s move on. What we do know is that the next summer, the memory of the lost winter harvest had been transformed into a glowing realization that life is, indeed, good.
At least on Sant’ Erasmo.
First Day of Spring in Venice
There ought to be a special Venetian handshake, or greeting, or food (what? no special food??) to mark this little anniversary.
But I did hear something that sounded like a mystic knock at the year’s door, loud enough to be heard but perhaps not enough to be noticed.
The knock that struck ever so faintly on the old cochlea was delivered at the Rialto market. (You see? Of course food belongs in the picture. I was only testing you.)
Instead of an occult greeting, there is an assortment of poetry passed on by the ancients to acknowledge the moment. Once again, it comes from the fathomless store of balladry that Lino memorized as a lad. If his teachers had had any notion that his brain was going to retain all this material far, far into the distant decades — maybe even forever — they might have wondered if it would have been better to have him memorize something else. Like algorithms, or the names of the then-68 member countries of the UN, or all the books of the Bible.
But poetry seems to have turned out to work better, because how often in any day or occasion would it be necessary, or even appreciated, to burst out with all the books of the Bible? Poetry, however, is always the Right Thing to say.
So this morning, like every March 21, was marked by a spontaneous recitation of the vernal poesy of Giovanni Pascoli and Angiolo Silvio Novaro. Read these to the mental music of blackbirds cantillating in the dawn, and the sound of the truck delivering the branches of peach blossoms from Sicily.
If I had time, I would research the reasons for selling peach blossoms, and not apple or apricot or almond or any other flowering tree. I myself would like to know the reasons, but for now I can only say that these are here because that’s what people do. “People” meaning the growers, sellers, and buyers. So don’t come asking for pear or loquat blossoms or any other frippery.
Valentino, by Giovanni Pascoli. Lino launches into it like greeting an old friend: “Oh! Valentino vestito di nuovo/come le brocche dei biancospini!/Solo, ai piedini provato dal rovo/porti la pelle de’ tuoi piedini…”
Then there are lines he doesn’t remember so I’ll skip those, then the conclusion and the link to March: “… e venne/Marzo, e tu magro contadinello/restasti a mezzo…ma nudi i piedi, come un uccello:/come l’uccello venuto dal mare,/che tra il ciliegio salta, e non sa/ch’oltre il beccare, il cantare, l’amare/ci sia qualch’altra felicita’.”
Valentino is a poor country boy whose widowed mother survives by selling the eggs from their chickens. Winter is brutally hard and he has outgrown the shoes she made for him. The poet compares his bare feet to those of a bird. But then in March come the first signs of spring, and he concludes, “like a bird that came from the sea, that leaps in the cherry tree, and doesn’t know that other than to eat, to sing, to love, there could be any other happiness.”
The second of these classics is a little paean to the soft rain of March, which makes the plants begin to bloom.
Che dice la pioggerellina di marzo? by Angiolo Silvio Novaro:
Che dice la pioggerellina di marzo/che picchia argentina/Sui tegoli vecchi/Del tetto, sui bruscoli secchi/Dell’orto, sul fico e sul moro/Ornati di gemmule d’oro?”
“What says the misty rain of March/that strikes silvery/On the old tiles/Of the roof, on the dry motes/Of the garden, on the fig and on the mulberry/Adorned with buds of gold?”
He goes on to say that winter is past, tomorrow spring will come out, trimmed with buds and frills,with bright sun, fresh violets, the beating of birds’ wings, nests, cries, swallows, and the stars of almond, white… The entire team, in other words, plus cheerleaders.
All this sounds much better in Italian, but in any language these poems and their ilk amount to a deep sigh of relief. Sometimes it’s not so much that spring is here, but that winter is gone. Less winter, more spring. If that doesn’t call for a poem, you may have a soul made of styrofoam.
No offense.
"Quando la rosa mete spin/xe bon el go' e el passarin." When the rose begins to bud, the go' and the passarini are good. In other words, to everything there is a season, and March is the moment for these creatures. The passarini are looking good.
Another day, another mollusk
We went out rowing the other afternoon, which is always a good thing but not exactly news. Other people might have been unenthusiastic — and in fact, we didn’t see anybody else out — but we don’t wait for the weather to sing its little Lorelei song. That’s a waste of valuable time especially in March, what with Lorelei being so skittish. We just go.
For a while, the most notable thing about the excursion was the faintly hazy, vague color scheme of the part of the lagoon where we like to go. Then the breeze began to get to me. It wasn’t so strong, but it was raw and insistent, which began to be annoying, like a crying baby in the apartment at the end of the hall. Part of the effect of the crying baby, as with the wind, is that there’s pretty much nothing you can do about it. Things I can’t do anything about really, really annoy me. Just so you know.
But the situation became much more interesting when we ran the boat onto the exposed mudbank — the tide was out — so Lino could go exploring. I would have gone too, but wasn’t wearing shoes that would have made even the slightest effort to resist the squishy, waterlogged terrain.
And what he found were oysters. I knew they were out there because he’s brought them home before. Lagoon oysters on the half-shell were our antipasto for Christmas Eve dinner a few years ago, and they are delectable, not too large, not too small, and faintly sweet. One source states that this breed is known for its “unique tannic seawater flavor…and [is] considered excellent for eating raw on the half shell.” As I said.
To be precise, these unsung lagoon creatures are known elsewhere as the highly prized Belon oyster, the stuff of high-wattage chefs and cultivated feeders. Here, nobody cares about them anymore. Even less than not caring, nobody seems to even know they exist. Here the restaurants are fixated on clams…clams…clams…clams, like a stuck culinary record.
Oysters were once as common in the market as clams. A particularly Venetian habit, more firmly rooted than kudzu, is to exclaim “Ostrega!” (OSS-tre-gah) which means “oyster” in Venetian. (Italian: ostrica). It’s an all-purpose term that would instantly reveal you to be Venetian anywhere in Italy; in fact, it carries amusing overtones of charming quaintness to anyone not from here. It is one of those clever next-to words (like “hello” instead of “hell”) that people employ to avoid using a really serious and socially inadmissible word — in this case, “ostia,” which is the Communion wafer. Ostrega is close enough to get your meaning across without offense.
“Ostrega” is a flexible word which, depending on your tone of voice, can express a variously emphatic reaction from astonishment to agreement, disbelief, displeasure, wonder, delight, and so on. “Ostregheta” (OSS-tre-GHE-ta, or “little oyster”) is a gentler variation. I have a Venetian friend who will sometimes say “OO-strega,” which I think is adorable. I keep meaning to ask him if he invented this.
Back to the oysters themselves. One of the clauses in the numberless regulations governing fishermen (which began to be documented in 1270), as stipulated in 1765, stated that “To only the fishermen who personally exercise the laborious toil of fishing, should remain the usual freedom to go to the neighborhoods selling fish at retail such as eels, flounder, mullet, sardines….cuttlefish, clams and oysters in the permitted times.”
But now, as with so many things (such as papaline), they have fallen out of favor and I’m not sure anyone can say why. There seem to be fashions in fish. It can’t be because oysters are difficult to collect, because they’re generally easier than clams. Clams lurk beneath the sediments, but oysters — like canestrelli — are often found lying there on the muddy/sandy bottom, right out in the open, not even trying to hide. You can just pick them up, like Lino does, though back when they had commercial value men would take them by means of a cassa da ostreghe, more simply known as an ostregher (oss-treh-GHEHR).
An ostregher was a sort of baggy net weighted with a strip of iron which was tied to the stern of your boat, and which you would drag along the bottom as you rowed or sailed. Something similar, called a “cassa da canestreli” or “scassa diavolo” was used to take canestrelli (Pecten opercularis), as Lino often did when he was a lad; he sometimes shows me where, along the edges of the Canale del Orfanello stretching from the Bacino of San Marco toward the island of San Servolo. Or in the Canale del Orfano, from San Servolo to the island of La Grazia. Lots of people did this, just for themselves. Even now, a few people might still joke, when the vehicle you’re in (say, the vaporetto) is slowing down for no apparent reason: “Are they dragging a cassa da canestreli?” I imagine that most youngsters have no idea what they’re talking about.
Then the city outlawed this technique as damaging to the lagoon. You might say this was a good thing — it’s certainly fine as a concept, like peace on earth — except that it wasn’t damaging, and if it were, why was this method outlawed while illegal clamming continues, night and day, by people using a mechanized version of basically the same technique, leaving utterly barren, completely devastated tracts of lagoon behind?
Lino happily returned to the boat with a bag containing a batch of oysters and a lone canestrelo which he couldn’t resist.
All now frozen solid, awaiting their moment of glory in Lino’s next fish soup.
It turned out to have been, as the saying goes, an excellent day to die. For the oysters, I mean.
March 5 in Venetian history (ours)
Since I’ve been here, all sorts of dates have become staples of my annual pilgrimage through the months — dates which never had any significance for me because they didn’t have anything to do with me. Like most dates, today excepted.
Take May 5. No, I don’t mean Cinco di Mayo. It’s not Florence Nightingale’s birthday. Not the first publication of Don Quixote. Not the invention of WD-40. All events worth observing but they don’t have much to do with Venice.
May 5, just so you know, was the Death of Napoleon. In case this still doesn’t matter to you, your city probably wasn’t starved, raped, mutilated, and then sold into slavery. Probably. So anyway, May 5 is, in fact, a day worth remembering, however briefly.
But, I hear you cry, this is March, not May. I realize that. I just wanted to say that March 5, which comes to nobody’s mind except Lino’s (and now mine), claims just as important a place in my calendrical memory. And I wasn’t even there.
March 5, as Lino tells me every year (“Who knows why this date has remained so fixed in my mind?” he asked this morning), was the Battle of the Great Frozen Eel.
On the night between March 4 and 5, he went out in the lagoon to fish.
“There was hoarfrost in the bottom of my boat,” he starts out, to set the scene, and to point out how cold it was. March is famous for pulling tricks like that — it snowed here day before yesterday.
He fishes for a couple of hours out in the lagoon. “I got all kinds of great stuff,” he says (I’m freely translating). “Seppie. Passarini [European flounder]. And an eel.”
The fact of there being an eel isn’t so remarkable — the lagoon version has a lovely pale-green belly — but considering that he fishes with a trident, they’re pretty tricky to spear. So this was a sort of bonus.
All the fish are tossed into a big bin. He continues fishing. It continues to be really cold.
Finally he rows home, lugs the bin upstairs and dumps the contents into the kitchen sink.
The eel makes a clunk. It’s frozen solid in the curled-up shape it was forced to assume in the bin. “That didn’t happen to the passarini,” Lino adds, “but the eel was hard as stone. So I began to run tepid water on it to soften it up.”
“All of a sudden” — (I love this part, it’s like a fairy tale when the witch or prince or stolen baby appears) — “all of a sudden, I see its gills begin to move.” He makes a slowly-moving-gills motion with his hand.
“My God! It was still alive!” Astonishing, if you believed, as I — and obviously Lino — would have, that freezing would kill a creature. But the gills were definitely moving. And shortly thereafter, the rest of the eel was also moving. A lot.
“You should have seen what that eel was doing in the sink,” Lino goes on. Naturally it’s slithering like crazy, trying to get out, but naturally it is failing. And naturally Lino is trying to grab it, but it cleverly has a slippery skin to prevent that.
“Finally I took a dishtowel and grabbed it using that,” he says. “It still wasn’t easy. I managed to pin it down and made a couple of cuts” (in whatever part of the body was convenient). Then, when it began to slow down, he continued with the usual procedure of dispatching and cleaning eel, which I will not describe to you. Anybody who wants to know can write to me.
So remember March 5, sacred to the memory of the gallant eel who didn’t realize he was better off frozen hard as stone.