The mind of the traveler has much to work with in Trieste. The place has hilly vantage points, beautiful balmy summers, earthy and sensual food, the largest yachting festival in Europe (the Barcolana), and a strange, unresolved history. The city sits on a strip of land called the Karst that is now in the far northeast of Italy, on the Slovenian border, but that has over time been host to the Illyrians, the Romans, the Byzantines, the Goths, the Venetian Empire, Napoleon's Empire, Austria-Hungary, Italy, Germany, Yugoslavia, and Italy again, since 1954. The city proves that globalization is anything but a new phenomenon; the region speaks of ambivalence and political revisionism. It bridges cultures to mark, as the Triestine author Claudio Magris once put it, "the passage from the airy marine ethos of Venice to a continental and problematic Mitteleuropa, grand, morose laboratory of civilization's discontents."
Trieste's moody winters fill the city with its signature wind, which whips down from the mountains in the northeast to the Adriatic at up to sixty miles an hour. Like the Provençal mistral and the New England nor'easter, this wind bears its own name and legend: la bora is said to periodically cleanse the city of its sins with three-day episodes. The wind seems overly expressive to the understated Triestini, who deem a man who's unnecessarily blustery, all full of himself, l'uomo borioso.
When I arrived in Trieste, however, on a Saturday last fall, the air was still and the sea was silver calm. A port city, Trieste has always lived and died by its water. For Italy, nearly all of whose outline could be regarded as one vast harbor, the city might seem redundant. But for the largely landlocked Austro-Hungarian Empire, to which the city belonged from 1382 to 1918 except during some Napoleonic episodes, Trieste was the main port, a miniature Vienna by the sea, toward which the whole of Northern Europe seemed to lean.
Even today the city is dominated by the Hapsburgs' ambitions for it. Its architecture celebrates nineteenth-century neoclassicism; its medieval plan was opened up in favor of grand boulevards laid out in a fiercely logical grid. Despite the romantic ruins of a Roman amphitheater, and the medieval Romanesque Cathedral of San Giusto, the true icons of the city are republican, commercial, utilitarian, and bourgeois.
On that Saturday the market in Piazza Ponterosso bustled, albeit with a curious datedness. Two teenaged boys scraped together change to buy a reproduction poster for a 1968 Doors, Steppenwolf, and Chambers Brothers concert at the Hollywood Bowl. Two gentlemen in tweed coats and ties bought hand-held fishing lines. Old ladies bought various salamis, and socks to wear with their sensible shoes. They walked with their adult sons, who lingered behind, giving rides to their own children on their shoulders.
Nearby, the bursary Tergesteo exhibited vintage photographs of Italian markets throughout the past century, in sepia sentimentality. Although the fashions have changed, many of the goods have not. This display was the perfect introduction to Trieste—a celebration of the middle class; a nod to consumerism, that ancient form of entertainment; a stylization of what we do to survive.
In the Piazza dell'Unità d'Italia, Trieste's centerpiece and one of the largest open squares in Italy, dozens of couples walked arm in arm, stopping almost dead center to embrace and kiss. No one appeared to be alone. Dogs were being paraded proudly: pedigreed and manicured Borzois, Afghans, standard poodles, pugs, whippets—trophy dogs sniffing at each other with the compromised disdain of the kept.
Less clear was the status of the cats; these creatures of the back streets and the shaded public garden had a feral quality to them. Plates of fresh pasta and fish heads were left for them on stoops, like animist temple offerings. No sooner was a Vespa parked than a cat was sure to curl up atop its warm seat. These unskittish cats are so sure of the Triestini's affection that some actually need to be lifted off a bike by its owner.
Notwithstanding the cats, chickens rule the public garden: thuggish cocks and hens strut and peck, acting more like the Italian-gangster cliché than any of the citizenry. One pigeon that dared to step into a cock's way was pecked almost to death before it was saved by a woman who sat on a bench stroking and cooing at the stunned bird and then walked away with it. I was unsure whether she meant to nurse it or to cook it for dinner.
I was on a Sunday-morning walk when it began to rain. I dipped into a church, the Beata Vergine del Soccorso, and stood in the back with husbands who didn't take communion and waved good-bye to their wives as they headed to the altar. Curiously half-hearted, episodically Baroque, with sudden flourishes of exuberance, the church seemed tired of itself, unsure of what was in store for it. Yet the communion line was long, and the service felt relevant. During the salutation the man beside me gave me his hand to shake, startling me with its rough grain and absence of a middle finger.
In Trieste there is just too much diversity—but of a subtle nature, as if calculated to add up to some average of all European culture—for you to entertain observations about quaint differences from your own life. There I was surrounded by people who sort of look like me or my mostly Slavic relatives, with broad faces, beaked noses, unexpected coloring. Unlike their dogs, the people are mutts, amalgamating the genetic legacies of the ethnic groups that have settled here. Body types seem to be decisive: big and beefy or light and waiflike. There's none of that American self-consciousness about being either too big or too little; these people seem to have adapted well to the culinary imperialism that defines their diet.