“Let me tell you about winds,” Almasy says to Katherine Clifton as they shelter in a car from an Saharan sandstorm in The English Patient. “There is a, a whirlwind from southern Morocco, the aajej, against which the fellahin defend themselves with knives.”
I’ve been thinking about The English Patient because it’s one of my movie obsessions but also because I am in the room above the kitchen in the old house here, part of the original structure, a sheep shed, that was all that was here when the owner, Georgina Howard, bought the property. This house reminds me of the villa where Nurse Hana shelters with Almasy, now the English Patient, to allow him to die in relative peace. As the medical convoy moves on, Hana watches from a high window in the villa, chopping off her long hair into a chic bob the way women do in the movies. Disparate characters come and go, a thief called Caravaggio, a Sikh bomb defuser and his sidekick Kevin Whately (that is the actor’s name, I only ever think of him as Kevin Whately) all with their different knowledge, expertise, striving and grief. They come together for a time, and then they part ways.
Let me tell you about winds.
In my room with its view of the roof over the dining room, and then of the valley beyond, I heard the winds around dawn. The nearby wind sounded like the whoosh of the ocean. The approaching wind sounded like a rapidly-arriving locomotive. Not a whirlwind from southern Morocco – Morocco, like all the rest of the world, is far, far away – but a fierce eddy from somewhere that, when it arrived, bent the trees long ago matured into strange undulations like modern dancers.
And then it raised itself up and away.
A few days ago we had a straight, hard rain, after a thrilling prelude of thunder that purred and echoed across the valley. I grated cheese in the kitchen with a keen eye on Chef Carol, who disguises her expertise beneath a mask of amiable vagueness. What’s in the risotto? “Oh, it’s got some shallots and some . . . I chopped . . . did we say 7:15? With risotto, you have to be very precise.”
Outside, the rain stopped. Georgina thundered down the stairs and swept into the kitchen. She is not one to enter a room with hesitation but strides into the action mid-gesture with an urgency to impart, like a herald in a play. But you would not expect a docile demeanor from someone who twenty-odd years ago saw a Basque shepherd’s hut and willed into being a creative manse (or, in Basque, etxe). The central courtyard between the houses is a kind of stage, one where I would happily set a play, a romantic farce, if I wrote plays happily, which I do not.
Georgina cried, “Elizabeth! There is a word for the smell of the earth after the rain! Petrichor!” She rolled the R, so I thought the word must be Spanish or Basque. “Petrichor! From ‘petra,’ meaning earth and ‘cor,’ meaning . . . oh . . .”
From ichor, the term used to describe “the fluid that flows like blood in the veins of the gods” in Greek mythology. According to the Oxford dictionary, the word was first used in a 1964 article written by a group of scientists, which is why we have never heard of it.
“How would you use it in a sentence?” asked one of the writers when we brought petrichor along with the risotto to the dinner table.
I couldn’t think of how to use “petrichor” in a sentence that would not also include the words “smell” or “rain,” which tells me this was not a word clamoring to be coined. I also wonder how these scientists, finding the phrase “the smell of the earth after it rains,” insufficiently pithy to their needs, fell so easily onto “ichor.” Now there’s a word I’d like to use in a sentence. “How do I get this ichor stain out of my dress?”
There is a laurel tree embedded in the patio courtyard. Georgina constructed the patio around it, decided that the tree would be part of the family. In Greek mythology, Daphne, pursued by Zeus, transforms herself into a laurel tree to preserve herself from his lust and other ickiness.
The poem The Laurel Tree by Louis Simpson contains these lines:
“Is there a tree without opinions?/Come, let me clasp you!/Let me feel the idea breathing.”
And ends with these:
“The dish glowed when the angel held it./It is so that spiritual messengers/deliver their meaning.”
Xavier, my Savior
“Don’t you love her accent?” said the Irishwoman to the Brit.
She could only have been talking about me, since I was the one talking. I had been the one talking, truth be told, for quite some time, a jet-lagged dialogue fountain since the five of us had arrived at the Pyrenean Writing Retreat and been revived with a glass of wine (or several). I’d arrived in San Sebastian on Sunday, after quite a long journey that began in Astoria when I dragged my suitcase to the Q102 bus stop, took the bus to the E train, the E to the Airtrain, the Airtrain to the airport, JFK to Madrid, Madrid to Bilboa, then a bus from the Bilboa Airport to San Sebastian, where I was once again dragging my suitcase through a charming, unfamiliar town, where I was thoroughly lost.
“Is easy!” the text from the hotel read. “Cross the river to the Cathedral Buen Pastor, go straight to basilica Santa Maria and go up stairs we are in calle mari 21 very easy.”
It wasn’t easy. My phone was dying because I hadn’t had time to recharge it at the Madrid airport since I spent 90 minutes in line to get into Spain. I didn’t see any stairs and I mistook one basilica for another. Furthermore, despite several weeks of diligent study on Duolingo, my Spanish was crap. I could talk about universities and professors, drinking coffee and having a tall daughter, but I couldn’t ask for directions.
The wide avenues and plazas were full of families out to tire the kids on a Sunday afternoons and pleasantly tired, painted marathon runners. Cafes bustled.
“Perdon, hablo ingles?” I asked a passing family.
They didn’t really, but they helpfully called the hotel, and then haltingly told me that it was a 20 minute walk, which I refused to believe. (It was.) I was handed off to a man with a bicycle, and then I handed myself off to a man I stopped (“Perdon, hablo ingles?” “Yes, of course.”) who happened to be an English teacher. He delivered me to the door of the hotel, which was by then worriedly awaiting my arrival, since the call from the family. They had called me to check on my progress but of course, my phone was dead.
I was so grateful to the English teacher – Xavier, my savior – that I gave him the copy of CENSORETTES I had brought along on the trip in case any of my fellow students at the retreat wanted one. This left me with two books, THE GREAT GOOD PLACE by Ray Oldenburg, which is research for the dog café project, and THE ART OF SYNTAX, part of Greywolf Press’s THE ART OF series. And, of course, THE POWER BROKER by Robert Caro because you can’t write a history of New York City, even a tiny fragment of it, without referencing Robert Moses. One of his great works, after all, is the Triborough Bridge, which ends in Astoria. I downloaded it as an Audible book, my second-ever audiobook. It is 66 hours long and of course, it is eating up massive amounts of space on my phone. Hence, it keeps dying.
The next day, another bus brought us deeper into the heart of Basque country, and then we were collected by van and brought to the retreat, which is unspeakably lovely.
After a night of chatting, I fell into the bed of my room above the kitchen, a charming room that made me feel like some intrepid mid-century traveler, a female Patrick Leigh Fermor.
This morning we had our first workshop, with the savvy and kindly Diana Friedman. The topic was SETTING. She generously used the opening of CENSORETTES as an example of an effective setting. My fellow retreaters were very kind, but I had no copy to give them, thanks to Xavier.
But at least now I can say I have international distribution.