If you haven’t read “The Ovile of Memo and Pepe: Part One” (click here).
Inside, the room was clean and sparse. A bucket of water just inside the door held the meter-and-a-half-long wooden stick with which they stirred the cheese. The cheese was boiling in a black iron cauldron, with a mouth a meter wide, that hung over a wood fire burning so hot and clean that I do not recall even a breath of smoke in the tiny room. Some sausages hung from the rafters; on a table catty-corner from the fire a wood plank table held up two bottles of wine and several packs of cigarettes. In the far corner, opposite the fire, Mimmo and Peppe were busy at a shallow-sided, waist-high stone sink, squeezing whey from the cheese through plastic sieves. They looked up from their work, smiling, verbally poking at Matthew for having taken so long to bring his family down to the ovile, saying hello to me and saving all of the best sweet talk for Robin.
Now I’m going to cheat, this is a blog and not a novel so I can show you a picture of Mimmo and Peppe that I’ve posted above and ask you to look at their hands. They are amazing hands, impressively large and smooth, these hands make almost anything they hold look small. I’m also going to break another writer’s rule and slip into something more comfortable, the present tense:
They offer us some curds of the cheese they’re cooking; it tastes like fresh farmers cheese, bright and dry. Mimmo explains that this is the first cooking and that they will cook it again, making it into creamy, rich ricotta (literally: re-cotta/re-cooked). In the meantime they are busily pressing and compressing the cheese, the whey runs down the slanted work surface and into the drain feeding the rivulet of whey specked with curd that we encountered on the way in. Matthew pops another bit of crumbly bright cheese in my mouth and I understand why the dog outside is so happy to lap up the remnants.
Robin is squirming and agitated by the fire, the dark room and the two robust men with hands bigger than her head. She says alternately, “want to go OUTside.” and “want to see BABY goats!” She wants nothing to do with the fresh cheese. She’s squiggled down out of my arms and hoisted up onto her papa’s shoulders. Matthew asks for permission to go through the door next to where Mimmo and Peppe are working; this is the door that leads to the enclosed concrete part of the ovile where all the goats, too young to go out to pasture, are kept.
Ducking through the door we see goats of all ages from ones that look grown to ones that are barely standing, only 24 hours old. Amongst the goats is a lone lamb with his tight white wool looking tidy in comparison to the splendor of speckles, spots and stripes that embellish the surrounding swirl of goats. Their legs and bellies thick with damp feces, the baby goats are still enchanting. Robin shimmies down from her father’s shoulders and her sneakers smack on the wet cement. The baby goats resist her attempts to pat them by dancing away on their delicate hooves in a wave, like startled ballerinas on point. We explain that they’re nervous, that she needs to walk slowly so she can get a little closer. She won’t get her hands on one this time but she’s happily talking to and about them, informing the world in general about which ones are what colors, and which ones are sleeping, or jumping. Then, like any toddler, her attention span is used up and she wants to go.
We come back into the cheese making room where Mimmo and Peppe have started the second cooking. Our shoes, everyone’s shoes, are slimed with goat shit so I am relieved to see that Mimmo meticulously rinses his hands and keeps the cheese stirring stick always up or resting in the bucket of clean water. Robin cannot be tempted to try the cheese and now wants to go outside, see pigs, see pretty, sad puppy. As we walk back down the path towards the pig pens Mimmo and Peppe’s brother, Gianni, is coming up the path with another man, he sees Robin and scoops her up on to his hip, like a veteran papa, and chucks her startled cheek with his broad knuckle and tells her what a lovely girl she is.
Robin balks at being picked up by Gianni but she doesn’t cry she just wriggles and chants her latest mantra, “mama gon pick you up!” Gianni gets the message and puts her down. He, the stranger and Matthew all walk back up to the cheese room and Matthew returns with a small, plastic basket full of hot and creamy fresh ricotta. He spoons bites into my mouth at happy intervals as we walk up and back down the path. Robin is balanced on my hip and we alternately shoot the breeze and point out things to her, rocks in the cliff face, flowers by the side of the road. The ricotta is magnificent.
To be continued (Click here for part three)
If you’re curious to see when Robin finally got her hands on the baby goats, click here: Robin of the goats
Thanks for sharing the link to these posts, I’ve really enjoyed reading your experiences in the area where le quattro volte was made. What a wonderful film too, those goats (and the dog too!) are such stars!
Crafty Green Poet