Unearthing The Past in Trinacria

Back in Podunk after 10 days on an archaeological tour of Sicily, I come bearing jet lag and anecdotes. My fellow travelers were a half dozen Americans and a dozen Brits, all of a certain age. We were doctors, lawyers, merchant chiefs, teachers, a publisher, a forensic investigator, a government bureaucrat, and a lowly scrivener.

We were overseen by a pair of men I came to think of as Mommy and Daddy. Cem Boyvadaoglu is a Turk who is married to an Italian art historian. They live in Florence, but she is now teaching a class in England. When asked about Turkey, Cem laments the ruin Erdogan has brought to his country. Brits unhappy with Brexit and Americans with Trump felt his pain. He was our mommy, making sure we didn’t get lost or miss the bus, got fed and watered, and had no complaints.

Our Daddy was in charge of improving our minds, introducing us to the antique history of Sicily, its many invasions and cultural crosscurrents, museums, temples, palaces, cathedrals, graveyards, catacombs, quarries and artifacts. He was a Romanian archaeologist, Doru Bogdan, who has participated in digs in Pompeii, on the Black Sea, and in his native forests, uncovering the history of the Dacians and their Roman occupiers.

He was unfailingly interesting, informative, experienced and mordantly funny. For example, he identified himself not as Romanian but a Transylvanian because his region is obviously superior to the rest of the country. He also complained about the confusing design of the modern archaeological museum in Syracuse, suggesting it had been designed by the same guy who did the Labyrinth.

When asked what, if he had thirty more years in his field, he would hope to see discovered, Doru said immediately, “a time machine, so we can prove how many of the things historians claim are true are actually false.” When pressed to get more serious, he said, “Okay, Atlantis.” Finally, he admitted many of the actual locations of the decisive battles of the ancient world are unclear. Identifying them would be good. But his first answer addressed a recurring theme. Historians may have theories, but it is the spadework of the archaeologist that often tells the tale.

The entire trip was a lesson in cultural diversity, starting with Americans and Brits escorted by a Turk and a Romanian, sorry, Transylvanian, but also because Sicily from 800 BC to 1200 AD was the crossroads of the Mediterranean and its cultures, occupied by Carthaginians, Greeks,
Romans, North African Muslims, crusading Normans, Aragonese. A DNA look at a cross section of the Sicilian population might well paint a picture as eclectic as the continent.

Though the history of the place is one of constant contention, Doru was at pains to suggest war was far from the whole story. Commerce was the basis of the island’s appeal. It produced wine and olive oil, grains, timber, fruits and vegetables, salt and so on. Arabs introduced lemon trees, And someone introduced the prickly pear, also know as the Fig of Barbary and the India Fig. But it actually originated not in India, but the Indies — Mexico specifically, so was probably brought back by Spaniards.

Several of the island’s most glorious buildings, from the vast 300 AD Villa Romana del Casale, to Monreale Cathedral and Cappella Palatina created by Norman rulers in the 1100s are wonders of craftsmanship. But those craftsmen were often imported from afar — mosaicists from Islamic North Africa and Eastern Orthodox Byzantium. Doru suggested the wealth of the master of the Villa was so great that it was as if a 20th century plutocrat had hired Picasso, Matisse and Chagall for three years to decorate his house. And the court of the Normans was staffed with a Byzantine admiral from Antioch and an Islamic geographer from the East. For several centuries such harmonious cultural cross-pollination was the norm.

Lest we get too cheerful about the past, however, Doru also reminded us often that the labor behind many of the sites we visited was that of enslaved men and women. The losers of battles frequently became the motive power of the conquerers. They farmed, built, served, and at a quarry, the Cave di Cusa, cut with only chisel and hammer and transported five miles the stones that became the temples of Silenus.

Ancient empires and economies ran on the backs of those in bondage. We are likely to regard this practice as an artifact of the bad old days, but our own “one percent” floats on a vast sea of sweat from Asian assembly lines, minimum wage home health workers, ill-paid teachers, cops and firefighters and so on.

Another theme we were exposed to repeatedly was how cosmopolitan the ancient world really was, and the immense journeys its peoples undertook. Vandals from Scandinavia sacked Rome, a Roman galley is discovered in the waters off China, Phoenicians from around today’s Lebanon colonized Tunis, Sicily, and Spain, Norsemen, by way of France, conquered Sicily with a paltry 750 men.

And then there is the rise and fall of empires. In my daily journal of the trip, I began a brief rant one day about Sicilian shortcomings — trash dumped in beautiful countryside, roads in need of repair, unclean public toilets, cheap, ugly buildings next to ancient grandeur, but was brought up short. Yes, some grand 18th and 19th century buildings in Catania have a sad, sooty air of neglect and decline. Doru noted that as recently as 200 years ago Sicily was still prosperous, but no more.

Yet an air of superiority is hardly becoming to an American these days. I grew up in a booming rust belt city, once mighty but now fallen on hard times, and seemingly left behind by history. The Carthaginians, Moors, Greeks, Romans, Normans, and all the rest had their day, and may have thought it would never end, as did Detroit and Pittsburgh and Cleveland 40 years ago.

Now the remnants of Sicily’s past are on display — elegant red figure ware behind glass, abandoned temples on lonely hilltops, the inlaid floors tourists photograph, mute reminders that only change is eternal, mutability inevitable, hubris dangerous, civilizations fragile, and “many ingenious lovely things are gone.”

On the final night of our voyage, after dinner, a few of us sat at a cafe table outdoors near the harbor and had a drink as music played. There was a bit of hilarity and some sadness at parting. “Thinking of what is past, or passing, or to come,” we might have been travelers or traders any day since the founding of the city in the bronze age, stopping briefly on the quays of Ortygia, before sailing away on the next tide and taking our memories with us.

Small Films, Big Performances

After a summer of the usual superheroes, space cadets, and bloody strife on the screen, a few little movies concerning humans have been turning up in theaters lately. I found the following quartet worth your time.

“A Simple Favor” stars Anna Kendrick as Stephanie, a single mother and homespun lifestyle vlogger who falls under the spell of the mother (Blake Lively’s Emily) her son’s playmate from school. Where Kendrick is prim, folksy, and frumpy, Lively is sleek, glamorous, mysterious and without inhibition. Martinis meet Kool-Aid.

The simple favor is to pick up Emily’s child when she is delayed on a business trip. but she doesn’t return. Kendrick reports her as a missing person and between cookie tips begins to vlog about the investigation. She also comforts the abandoned child and husband, the latter a bit too thoroughly.

A body shows up. Suspicion begins to focus on the bereaved husband and the neighbor who seems to have stepped into Emily’s shoes a bit too easily. But wait! Emily was an identical twin, a surprisingly large insurance policy on her life was recently taken out.

We are in “Double “Indemnity” or “Diabolique” territory, as the film itself jokingly notes. And it begins to look like the patsy is going to be the neighborhood Martha Stewart wannabe. Yet little Stephanie turns out to be smarter, tougher, and harder to dupe than expected.

Kendrick is fine, but Lively milks her character for all she’s worth in a slinky, funny, untrustworthy, captivating romp. The film is wonderfully funny and shot with great style, making it a suspense thriller as sinuous and silly as chutes and ladders.

“Juliet, Naked” is an acoustic version of an album, “Juliet,” by Tucker Crowe, (Ethan Hawke), a flash in the pan rocker from decades ago. When is suddenly surfaces, diehard fans are thrilled. The leader of their pack is Chris O’Dowd’s Duncan, a shaggy college professor who curates a website devoted to all things Crowe. He has turned the home he shares with its owner, Rose Byrne’s Annie, into a shrine to his hero.

They live in a provincial, seaside, English town where Byrne runs the local history museum like her late father before her. And she is heartily sick of all thing Crowe, possibly of Duncan and her job as well. She surely wishes Duncan would spend half as much time in the present paying attention to her as to in the past obsessing about his American idol.

When a CD of “Juliet, Naked” shows up in the mail, she comments on Duncan’s website that this version is even worse than the original and a cheap attempt to cash in again on the same old songs. This produces an email from Crowe himself who says he’s as sick of “Juliet” as she is.

It’s an original and funny version of the meet cute that is a Romcom staple. They strike up an online friendship. Soon he arrives to visit, looking about as scruffy as The Dude in “The Big Lebowski,” but Annie is smitten. In part, because Crowe shows more interest in her than in Duncan, which drives the ultimate fanboy cuckoo.

Hawke is good as the aging rocker who never grew up and has children scattered over two continents from one-night stands, some of whom he has never seen. O’Dowd is a hoot, behaving like a jilted love. Byrne, who has been seen largely in comic assists lately gets to be silly, serious, rueful and heartfelt for a change. It’s a sweet, charming film about three people belatedly having to act their age.

In “Puzzle,” Kelly MacDonald’s Agnes is an under-appreciated mother of two almost grown boys in a Catholic household in blue-collar Bridgeport, Connecticut. Her husband, David, is an auto mechanic who expects his son’s to join the family business and his wife to cook, clean, keep the books, and generally do his biding.

When we first meet Agnes, she is cleaning the house, baking a birthday cake, hanging decorations and preparing snacks for a party. It turns out to be her own birthday she is catering. David is a burly, hard-working guy and no Archie Bunker, but he is surely clueless. She is almost equally unaware that she has never really gotten a vote in life.

One of the gifts she receives is a complicated jigsaw puzzle and she gets so hooked on completing it one afternoon that she forgets to cook dinner. This mini-rebellion leads to further mild acts of self-liberation. She takes a train into New York to visit a puzzle emporium and learns there are team puzzling competitions where prizes can be won. She also learns a man is seeking a partner.

She gathers her courage, contacts him, and shyly visits a beautiful brownstone to meet
Robert (Irrfan Khan) a wealthy, Indian-American engineer who is living off the proceeds of an invention. She has never met such an exotic, nor he such a throwback, but soon recognizes her talent and they team up. This leads to her playing hooky from home several days a week to prepare for an important tournament and lying to the family about it.

The experience is liberating for her and perplexing for her family. Life is a puzzle and she forces her family to realize several pieces have been missing for years. Some things will change forever by the time the curtain falls. MacDonald who has been good for so long owns this film and is very moving in her quiet journey of self-realization. And Khan is excellent as a lonely man, as is David Denman as a husband compelled to adapt to change.

Finally, “The Little Stranger” is an old-fashioned ghost story cut from the same cloth as “The Turn of the Screw.” Set in the late 1940s in England, Domhnall Gleeson is Dr. Faraday from the poor side of town who is called to treat a member of the neighborhood’s local squireachy at Hundreds Hall.

The matriarch of the place is a haughty Charlotte Rampling. Her son is still suffering from wounds incurred in the recent hostilities. The doctor strives to make himself indispensable to the family, not least because of the eligible daughter played by Ruth Wilson.

Class also plays inevitable part. Though the mansion is crumbling and appears to no longer possess a future, to Faraday the Hall has been a symbol of elegance and class since his childhood when his mother was a servant there and he once got to visit a place of perfect beauty and unattainable privilege.

But something more than looming penury is amiss. The inhabitants feel the estate is haunted. Faraday poo-poos the idea, but peculiar things continue to happen. It is all presented with slowly accumulating dread, if at a rather too stately pace, and is well-acted. I confess I found the big reveal in the last reel less than sufficiently thrilling, not to mention inexplicable, or at least unexplained. But aficionados of the genre can hardly afford to miss “The Little Stranger” for fear of being haunted by regret.

Yellow Stripes And Armadillos

Ovid tells us that man has traversed four ages from gold to silver, bronze and iron. These terms are metaphors for a descent from an original age of peace, harmony, and eternal Spring to a silver age of seasons, some halcyon, some harsh, and hence the need for labor and shelter. Bronze brought with it war and austerity, and the age of iron finds the people corrupt and selfish. Modesty, truth and faith are gone, replaced by deceit, fraud, violence and greed.

Myths like this, and many of the musings of philosophy and religion, concern a fall from innocence and grace and the question of how to return to better days and escape the shackles of iron, what Blake called “the mind-forged manacles.” Aristotle, in common with many of the ancient religions of the East, called for a Middle Way, a Golden Mean, an idea that echoes the inscription at Delphi, “Nothing in Excess,’ that is, moderation in all things.

In our brute, ironbound political times, we are increasingly ignoring this wise counsel and going to extremes. Some are simply nihilists who long for destruction, Armageddon, Gotterdammerung. But often the zealots advocating a hard swerve to left or right justify it by claiming it will lead to an imagined utopia.

Typically the right aspires to return to an imagined golden age in the past. Then, it is supposed, America was pure and uncorrupted, safe prosperous, homogenous, undivided. When this golden era took place is never clearly defined or it is in the eye of the beholder. Was it at the time of the nation’s founding when giants walked the earth. Or perhaps during the homespun days of “Little House on the Prairie,’ or in the small towns or cozy suburbs of “Andy Hardy,’ “Father Knows Best,” or “Happy Days.”

The problem with these nostalgic reveries is that a little investigations suggests the times it question were less than golden. Memory has edited out the sorrow, strife and drudgery. No modern husband or wife would trade home appliances for the washboard or the ironing board, the car for the buggy, the minimum wage for the sweatshop, indoor plumbing for the outhouse, or nasty politics for Civil War.

The recent past contains robber barons, the gunning down of strikers, tuberculosis, typhus, cholera, and slavery. As in most romances, the past we are asked to imagine is sanitized and features people like us in a starring role, as landed gentry, say, instead of scullery maids, as decision makers or heirs to the estate, not disenfranchised second class citizens, servants, women, landless peasants.

At the other extreme, the left imagines not a golden age of the past, but one to come. Healthcare for all, wealth redistribution, free education, peace and prosperity for all. Liberty, equality, fraternity with automatons doing the heavy lifting.

Many of the Socialist Democratic governments of Western Europe have a modest form of this dream, but Americans seem unlikely to be willing to pay the cost in far higher taxes, far more ubiquitous regulation, bans on pollution, guns, hate speech, swashbuckling free markets.

The new deus ex machina to accomplish the full utopia is always turning over all labor to our robotic, algorithmic, big data overlords. The five-year plan and the commissar will be replaced by rational, but inhuman calculations by silicon masterminds. What could go wrong?

Well, what do we do with the surplus population when work is outsourced? They aren’t all going to stay home and write sonnets, concertos or create apps. As our present shows, the result of an evolving world where many of us are no longer of much use is a gig economy, middle-aged kids still living with their parents, displaced workers, financial impediments to marrying, having children, buying homes. Drinking, doping, despair and death. Crime, mass shootings, fury, division, blood in the streets. Dystopia rather than utopia, unless you are ensconced in the executive suit and the gated community.

Alas, we are probably going to have to muddle through the great disruption in the usual way. By sticking to the moderate middle way. Of course, the extremists love to say that the only things in the middle of the road are yellow stripes and dead armadillos, but the only things at the extremists tend to be extremists. Often dead extremists, their victims, or both.

Going to extremes has historically brought a few people a demi-paradise and the rest a world of trouble. Betting you will be among the lucky few is a fool’s game. Besides, extremism is rarely attractive. As John Lennon charmingly pointed out, “If you go carrying’ pictures of Chairman Mao, you ain’t gonna make it with anyone anyhow. Better to seek the hard work and boring compromises of doing nothing in excess, but accomplishing some incremental progress. Great leaps forward tend to be off cliffs.