Paris taxi drivers, on the other hand, do not know any streets at all. If you ask one to take you to Place Saint-Sulpice, he'll let you off at the Odéon, saying that's the closest he can get. But first he will have moaned at length over your overweening demands with some cries of "Ah, ^a, monsieur, alors...."If you venture to suggest he consult a guidebook, he either does not reply or suggests that if you wanted bibliographical information you should have consulted an archivist-paleographer at the Sorbonne. Asians are a category apart: with extreme politeness they tell you not to worry, they'll find the place at once, and three times they make the circuit of the boulevards; then they ask what's the difference if, instead of taking you to the Gare du Nord, they've brought you to the Gare de l'Est—after all, there are plenty of trains at both stations.
In New York, as far as I can tell, you can't summon a taxi by telephone to some club; in Paris you can; but they don't come. In Stockholm you can call them only by phone, because they don't trust any old stranger walking along the street. But to discover what phone number to call, you would have to stop a passing taxi, and, as I just said, the drivers don't trust anybody.
German drivers are courteous and correct. They don't speak, they just press the accelerator. When you get out, white as a sheet, you realize why they come to Italy for relaxation and drive in front of you, doing sixty kilometers per hour in the fast lane.
If you set a Frankfurt driver in his Porsche to compete with a Rio driver in his battered Volkswagen, the Rio driver would arrive first, partly because he doesn't stop at traffic lights. If he did, he would see another battered Volkswagen pull up beside him, full with boys just waiting to reach out and snatch his passenger's wristwatch.
In any part of the world there is one sure way of recognizing a taxi driver: he is that person who never has any change.
1988
How Not to Talk about Soccer
I have nothing against soccer. I don't go to stadiums, for the same reason that I wouldn't go and spend the night in the basement of the Main Railroad Station in Milan (or stroll in Central Park in New York after six in the afternoon), but if the occasion arises I watch a good game on TV with interest and pleasure, because I recognize and appreciate all the merits of this noble sport. I don't hate soccer. I hate soccer fans.
Please don't misunderstand me. My feelings towards fans are exactly those that xenophobes of the Lombard League feel towards immigrants from the Third World. "I'm not a racist, so long as they stay home." By "home" here I mean both the places where they like to gather during the week (bars, living rooms, clubs) and the stadiums, where I am not interested in what happens. And for me it's a plus if the Liverpool fans arrive, because then I can amuse myself reading the news reports: if we must have cir-censes, some blood at least should be spilled.
I don't like the soccer fan, because he has a strange defect: he cannot understand why you are not a fan yourself, and he insists on talking to you as if you were. To convey my meaning I will give you an analogy. I play the recorder (worse and worse, according to a public statement by Luciano Berio, but to be followed so closely by a Great Master is a satisfaction). Now let's suppose that I am in a train compartment and, to strike up a conversation, I ask the gentleman sitting opposite me, "Have you heard Frans Brüggen's latest CD?"
"What? Eh?"
"I'm talking about the Pavane Lacbryme. If you ask me, he takes the opening bars too slowly."
"I'm afraid I don't understand."
"I'm talking about Van Eyck, of course, [slowly and distinctly] The Blockflöte."
"Look, I'm not.... Do you play it with a bow?"
"Oh, I understand, you aren't—"
"No."
"That's funny. Did you know that, for a custom-made Coolsma, there's a three-year waiting list? So an ebony Moeck is better. It's the best, at least of those on the market. Galway says the same thing. Tell me something: do you go as far as the fifth variation of Derdre Doen Daphne D'Over?"
"Actually, I'm getting off at Parma."
"Oh, I see. You prefer to play in F rather than in C. It's more satisfying in some ways, I know. Mind you, I've discovered a sonata by Loeillet that—"
"Lay who?"
"But I'd like to hear you in the Fantasias of Tele-mann. Can you manage them? Don't tell me you use the German fingering?"
"Look, when it comes to the Germans, I.... Granted, the BMW is a great car, and I respect them, but—"
"I get it. You use the baroque fingering. Right. Though the St. Martin's-in-the-Fields bunch—"
There. You understand my point, I'm sure. And you will sympathize with my hapless traveling companion if he pulls the alarm cord. But the same thing happens with the soccer fan. And the situation is particularly difficult when the fan is also your taxi driver.
"So what about Vialli, eh?"
"I must have missed that."
"But you're going to watch the game tonight, aren't you?"
"No, I have to work on Book Z of the Metaphysics, you know? The Stagirite."
"Okay. You watch it and you'll see if I'm right or not. I say Van Basten might be the new Maradona. What do you think? But I'd keep an eye on Aldaiz, all the same."
And so on and on. Like talking to a wall. It isn't that he doesn't care a fig that / don't care a fig. It's that he can't conceive that anyone could exist and not care a fig. He wouldn't understand it even if I had three eyes and a pair of antennae emerging from the green scales of my nape. He has no notion of the diversity, the variety, the incomparability of the various possible worlds.
I have used the taxi driver as an example, but the situation is the same when the interlocutor belongs to the managerial class. It's like ulcers: they strike rich and poor alike. It is curious, however, that creatures so adamantine in their conviction that all humans are the same are ready to bash in the head of the fan who comes from the neighboring province. This ecumenical chauvinism wrings roars of admiration from me. It's as if the members of the Lombard League were to say: "Suffer the Africans to come unto us. So we can kick their ass."
1990
How to Use the Coffeepot from Hell
There are several ways to prepare good coffee. There is the caffè alla napoletana, the caffè espresso, café turque, cafesinho do Brasil, French café-filtre, American coffee. Each coffee, in its own way, is excellent. American coffee can be a pale solution served at a temperature of 100 degrees centigrade in plastic thermos cups, usually obligatory in railroad stations for purposes of genocide, whereas coffee made with an American percolator, such as you find in private houses or in humble luncheonettes, served with eggs and bacon, is delicious, fragrant, goes down like pure spring water, and afterwards causes severe palpitations, because one cup contains more caffeine than four espressos.
Swill-coffee is something apart. It is usually made from rotten barley, dead men's bones, plus a few genuine coffee beans fished out of the garbage bins of a Celtic dispensary. It is easily recognized by its unmistakable odor of feet marinated in dishwater. It is served in prisons, reform schools, sleeping cars, and luxury hotels. Of course, if you stay at the Plaza Majestic, at the Maria Jolanda & Brabante, at the Des Alpes et Des Bains, you can actually order an espresso, but when it arrives in your room it is almost covered by a sheet of ice. To avoid this mishap you ask instead for the Continental Breakfast, and you lie back, prepared to savor the pleasure of having the day's first meal in bed.
The Continental Breakfast consists of two rolls, one croissant, orange juice (in homeopathic measure), a curl of butter, a little pot of blueberry preserve, another of honey, and one of apricot jam, a jug of milk, now cold, a bill totaling a hundred thousand lire, and a devilish pot full of swill. The pots used by normal people—or the good old coffee makers from which you pour the fragrant beverage directly into the cup—allow the coffee to descend through a narrow nozzle or beak, whereas the upper part includes some safety device that keeps the lid closed. The Grand Hotel and wagon-lit swill arrives in a pot with a very wide beak—like a deformed pelican's—and with an extremely mobile lid, so devised that—drawn by an irrepressible horror vacui—it slides automatically downwards when the pot is tilted. These two devices allow the hellish pot to pour half the coffee immediately onto the rolls and jam and then, thanks to the sliding lid, to scatter the rest over the sheets. In sleeping cars the pots can be of cheaper manufacture, because the movement of the train itself assists in the scattering of the coffee; in hotels, on the other hand, the pot must be of china to make the sliding of the lid easier, but still devastating.