Thursday, November 19, 2009

Irreformable Spelling

A while ago, I posted a whimsical set of spelling reform "edicts." Clearly, I wasn't in earnest about them. But I admit that I've always been the type of guy who can't help thinking about the possibility of reforming English spelling. Many people have brought proposals forward. None of them have turned out to be practical. And I have decided to resign my hopes as well.

Theoretically, there are a lot of ways you could approach the reform of English spelling. In practice, however, each way has problems.

First, you could assign a different letter to each phoneme, which would mean introducing letters that don't currently exist in our alphabet. (This would give us an excuse to ransack other writing systems, such as Cyrillic, for handy characters not found in the Roman system). Then each consonant and vowel sound in English would be represented by exactly one letter, which would represent no other sound. Second, you could develop a consistent system of multiple-letter combinations, such as ch, dh, sh, th, zh, etc. to represent certain sounds, so that we could get by with even fewer letters than we now use. Or, theoretically (as my facetious edicts demonstrated), you could simply repurpose the letters of the existing alphabet to serve our needs more efficiently. And finally, short of inventing an entirely new writing system - and surprisingly few people in history have really had the genius for such a feat - you could throw some diacritical marks over and under the existing letters to clarify which of their multiple pronunciations is in use at a given point - especially when it comes to vowels.

The main problem with all of these options, a problem I am by no means first to point out, is that each regional variation in pronouncing a given word would result in a different spelling of that word. If one goal of spelling reform is to standardize spelling throughout the anglophone world, this one-to-one, phonetic approach would be self-defeating. Worse, it would probably result in more variant spellings than just British vs. American; or, if a standard spelling was somehow enforced, in simply another case where, for most speakers, words were pronounced otherwise than as spelled.

Besides, I have come to appreciate the charm of the differences between British and American spelling. You can spot which part of the anglophone world a writer comes from, often simply by observing which way he spells such words as color/colour, fiber/fibre, draft/draught, jail/gaol, etc. The most fun discoveries, for fans of regional spelling quirks, are the inarticulate grunts and sound effects that people casually sprinkle into their speech, such as uh/er, duh/der, nyah/nyer, ew/eurgh, and aah/aargh. It's enough to make an American pause and reconsider the letter R.

Then there are the homonyms, homophones, homographs, all those "homo" words, that make English such a risky and exciting linguistic track to race on. If the soundalike words were all spelled the same, how would we tell them apart? For literate people, isn't the difference in spelling one of the ways we mentally distinguish between homophones? Plays on words won't be so clever - nor so readily appeciated - when they've stopped being separate words and become different definitions of the same word. And fine distinctions like "effect" vs. "affect," troublesome though they may be, won't be as easy to make.

Another problem began growing on my mind after I posted my Spelling Edicts spoof. When you read Lincoln's Gettysburg Address in my "reformed" spelling, it really doesn't look like itself. Too much of the essential character of the language is tied up in its spelling. The history of its development is in there, too. Related words may appear more similar to each other in writing than they sound to the ear. Knowledge of that kinship between them is part of the context in which they are used, often in a clever way that cannot be appreciated if their spellings are forced to conform to strict, phonetic rules. Even forms of the same word lose contact with each other across the chasm of phonetic spelling, whereas their archaic, somewhat arbitrary, traditional spelling preserves a remnant of that relationship.

There's a genius in that, too, like the way German uses the umlaut to keep the same vowel letter in a verb stem even when (due to a sound shift that happened centuries ago) each tense is pronounced with a different vowel sound. I use the example from a sister tongue because it may be easier for us to perceive its aptness than if I tried to demonstrate it through English examples. By the same token, then, who would expect /froilain/ to be a diminutive form of /frau/? Yet two little dots enable Frau and Fräulein to stand side by side, their etymological relationship unmistakable.

There are many similar instances in English, groups of words that would appear wholly unrelated if we spelled them phonetically, but whose interrelatedness becomes apparent when you see them spelled. Words such as who and what, closely related pronouns that in a phonetic system might not have a single letter in common. Here and there, for another example, are a matched pair of adverbs that, in "Spelling Edictese," would be rendered hir and yer. And words like the, which (at least the way I was brought up to use it) is pronounced with one vowel-sound when followed by a consonant and another when followed by a vowel - entirely left up to the discretion of the speaker, of course - would appear in print as two different words whose morphology might be difficult to explain. I know people whose dual pronunciation of the word the runs exactly opposite to mine; it irritates me just a bit when I hear them, but I think it would irritate me even more if I had to fuss over how to spell our language's most frequently-used and inconsequential word, every single time it came up, and above all to have to take into account each individual speaker's proclivities.

Bottom line, I like English spelling. Warts and all. It has so many fine details of cultural background fossilized in it. We have borrowed many French terms, few of which we pronounce as the French do, but whose Frenchness is kept evergreen by the English language's easy-come, easy-go canons of spelling. A francophone struggling to read a page from an American newspaper might feel encouraged, now and then, by the random appearance of a word he knows and loves. Meanwhile, an American is hard put to decipher words the Japanese language has appropriated from English, even after they have been transliterated into Roman letters. A perfectly systematic written language, like Romaji, cannot tolerate the existence of foreign words. It must obliterate their foreignness. It casts a magic spell on them - the spell of spelling - and their outlandish origins disappear.

I am aware that some people, such as the composer Percy Grainger, hold that English speakers should use only words derived from Anglo-Saxon roots. Thus, instead of coining a new word by sticking a Greek prefix in front of a Latin stem, we ought to jam two Anglo-Saxon stems together and make a new word out of them. The German language does this a lot: Handschuh (glove), for example, is such a hippogriff word, made by suturing "hand" and "shoe" together. Maybe that works for German folks. But English language has a cosmopolitan streak. How could we say that our language had a certain je ne sais quoi without dipping into the treasury of another language? And if we insisted on spelling that term zhernersehkwah, what would we have? Nothing but a piece of random gibberish, anointed with a given meaning (I don't know what). Imagine that word dropped into a transcript of a cultured conversations. The perplexed speaker, reviewing the transcript, would swear he had said something in French - but not even a native French-speaker would be able to find it if he looked for it!

No, folks. English spelling is best left alone. It's not as if ours is the only language that hazes anyone who attempts to learn it as a second tongue. Pity any one coming to Chinese, Korean, Japanese, or Amharic as an adult - there are too many characters to learn. If you want to be able to read a newspaper in such a language, you need to start young and study hard. Or take Vietnamese and Gaelic: two languages that use Roman letters, but in such a complex and idosyncratic way that the adult learner must live each day on the edge of despair. Cyrillic, Greek, Hebrew, and Arabic have extremely learnable writing systems; I would love to have an opportunity to master Thai, Hindi, or similar scripts. Sooner that than figure out how to predict the spelling of a Gaelic sentence from its pronunciation, or vice versa.

And some languages clearly have the wrong alphabet; some have even changed alphabets, by law, within living memory. Some southern Slavic languages, for example, switched from Cyrillic to Roman writing systems during the last century. How I pity the folks who speak those languages - especially those whose lives cross cultural and linguistic borders into an area where a closely related spoken language is written in a vastly different alphabet. I think there are similar cases in and around the Subcontinent, where Sanskrit-based scripts have been exchanged for Arabic-based ones, or vice versa. Urdu, they say, is a language virtually identical to Hindi, yet their vocabularies and writing systems are mutually unintelligible. Maybe that doesn't seem like such a tragedy if you live in or around Pakistan, but it does give you pause when you hear that some bright-eyed know-all wants all English speakers to replace the Roman alphabet with some custom-designed hybrid of Sumerian and Hittite. Folks in Papua New Guinea, whose pidgin is based substantially on English, would need their own Rosetta stone to be able to decipher Australian missionaries' tracts. I can't imagine a worse tragedy.

Wednesday, November 18, 2009

One-Liner

I occupied my mind during yesterday's commute to work by improvising a comedy sketch. It had some zingers in it, but I can only remember one of them now. I suppose that's because I repeated it several times to get the intonation right. Properly delivered, it begins piously and ends in a hiss of evil glee:
I don't like to speak evil of the dead... That's why I work so hard to get it all in while they're still alive!

Monday, November 16, 2009

Antired

This evening, for reasons that are none of your business, I found myself driving the entire length of Antire Road from High Ridge Blvd. in High Ridge, Missouri, to I-44 in St. Louis County.

If it had been a bright, sunny day, it would have been a perfect spot to film a commercial for a road-hugging, high-performance auto. The road zig-zags through some of the tightest curves in the developed world, while simultaneously plummeting down the side of a hill so overgrown with woodsy foliage that you can't see a dozen yards ahead. After an appetizer-sized serving of this, it settles down to the standard helping of hills and curves that Missouri drivers know and love, garnished with no shoulder and, at times, lousy pavement.

In today's gloomy downpour, it was a bit less fun than that.

So, don't drive this way if you're at all susceptible to carsickness, nosebleeds, or the temptation to answer your cell phone while driving. Before you do take a pleasure trip to Antire Rd., do some hand stretches to limber them up (for clutching the steering wheel). And make sure your tires are in good condition!

Sunday, November 15, 2009

Tango

Yesterday, during a long drive out of state, I composed the following lyrics in my head. I repeated at least the first two stanzas to myself, over and over, until I had gotten them just right; then I kept repeating them until I reached my destination, so that I wouldn't forget them before I wrote them down. I had made some mental notes on the remaining stanzas, so they came to me easily while I sat at a table at McDonald's, scribbling with a cheap pen and notepad picked up at a nearby Dollar General.

The lyrics have no personal significance. They don't reflect anything going on in my love life (which, you may as well know, is nonexistent). Nor was I thinking of a particular style of music when I wrote them, though I later decided that, with a pregnant pause in the middle of each line, they had the right kind of rhythm for a tango. More importantly, they have that elusive quality of "erotic sadness" that is absolutely essential to the tango.

So, here's the text. The music may come later. I'm not sure it's original, but if it turns out that I've (unwittingly) plagiarized somebody else's work, at least it won't be a very accurate job of plagiarism. I'm hoping that it doesn't resemble any other poem more closely than Noel Coward's "I am no good at love," but I'll trust you to tell me if I've copied my lyrics from an existing song.

TANGO

I need to touch you so I'll know you're real
When sharpness of anger is all I can feel
When your silence thickens like plaster sets
The body remembers what the heart forgets

When my lightest touch sends you straight to sleep
When your whispered words run none too deep
We have seven joys for every eight regrets
But the body remembers what the heart forgets

The embers are glowing but there is no fire
I hear your name spoken but feel no desire
I'm mounting the stairs while you're counting debts
But the body remembers what the heart forgets

If the door will not open, then break it down
If smiling is futile, let frown kiss frown
Let the blunted blade meet the stone that whets
As the body remembers what the heart forgets

Be the cloak round my arms through the bitter night
Till darkness is sweetened by morning light
And we catch each other in memory's nets
For the body remembers what the heart forgets.

I need to touch you so I'll know you're real
To help me remember how it felt to feel
The heart like a planet both rises and sets
But the body remembers what the heart forgets.

Friday, November 13, 2009

Seminarian Shorthand

By the time I went to the seminary, I had developed my own process for learning that worked like gangbusters. For me, anyway.

Some people do their best learning by ear: they soak up everything the prof says during lecture time. Or they make sound recordings of the lectures and listen to them over and over. Others thrive on learning by eye, pouring over books and carefully written notes. I seemed to learn best by hand. And I learned so well that, without having to cram before exams, I consistently got top-of-the-class, next-to-perfect marks. People called me "the Sponge."

It got embarrassing when they asked me to help them study or, worse, to lend them my textbooks or my notes. I'm sure they learned more about what goes on inside my head than about the academic subject. For the margins of my books were filled with scribblings: smiley faces, angry faces, question marks, exclamation points, asterisks, five-pointed stars, arrows, parallel lines, wavy lines, and laconic notes to myself. The text, meanwhile, was littered with underlinings, shapes drawn around names and words, lines relating key points to each other, letters and numbers representing points on the outline on which I was mentally mapping the text.

I had a system, known only partially to myself and not at all to anyone else, determining which type of shape or squiggle I used to indicate agreement or disagreement, promotion or demotion in my conceptual pecking-order. At exam time, I needed only flip through the book to refresh my memory of where I had drawn circles and rectangles in the text, or numbers in the margin, and I would be ready to set the class curve. Meanwhile, when it came to daily reading assignments, this process of interacting with the text, and the physical act of decorating it, impressed its details on my mind so clearly that I hardly ever missed a question in, say, Professor Marquart's True-or-False quizzes.

My class notes, if anything, were worse. Written in a virtually illegible scrawl, they were basically useless for review purposes. Yet I scribbled feverishly through every class, even when most students were calmly listening. Again, I believe it was the act of processing what my ears heard into what my hands wrote that enabled me to file each lecture in my memory. It wasn't that meticulous note-taking made my review sessions efficient; rather, my tireless, hasty, unpardonably sloppy writing enabled me not to have to review at all.

The only things I wrote down with care were the koan-like droplets of enlightenment with which certain profs sprinkled their daily lectures. I had to be clever with some of them. Dr. Scaer didn't like to catch me writing down such verbatim remarks, dreading the idea that I was amassing evidence against him. He needn't have worried. I took those notes home, copied his best lines into my diary, and laughed at the tipsy feeling they gave me. One day, when Scaer has passed beyond danger of a malicious heresy suit, I may share some of the best quotes I collected.

In order to bring a semblance of legibility to my notes, I searched far and wide for every reliable way to abbreviate words and retrieve what they meant. I really regretted not learning an authentic form of shorthand or speedwriting. So I made one up for myself, a system of one- and two-letter abbreviations for words that constantly came up in theological lectures. Here are some of them, for your amusement. If you're a seminarian, you're welcome to steal them. Just out of perversity, I'm going to add a few abbreviations I used in my clinical notes as a case manager for "seriously mentally ill" adults. They're not necessarily original to me; some of them I probably picked up from others on the clinical-note-writing staff; but their usefulness could go way beyond the healthcare industry.

@: at or about/around (determined by context)
AC: Apostles' Creed, or Augsburg Confession
An: Absolution
ao: anyone
Ap: Apology of the Augsburg Confession
asc: ascension
ath: anything
atmt: atonement
Ax: appointment; or, the book of Acts
ax: ask (sheepish grin)
B: Bible
b.: born/birth
bc: because
bk: book
Bm: Baptism
BOC: Book of Concord
Br: British
bv: believe
c.: circa; around, or about
CA: Confession/Absolution
CB: call(ed) back
CF(s): church father(s)
Ch: Church
Cm: Calvinism
Cn(s): Confession(s)
cr: create
crn: creation
cxn: crucifixion
d.: died/death
dkns: darkness
D/O: drop off
dn: doctrine
DS: Divine Service/liturgy
Dx: diagnosis
Ea: Easter
ed: education
eg: for example
EO: Eastern Orthodox
eo: everyone
Ep: Epistle
Ev: Evangelical
evm: evangelism
evst: evangelist
eth: everything
ex: example
F: Father
f: faith
FC: Formula of Concord
fns: forgiveness
F/O: find out or fill out
fp: fellowship
Fr: French
fr: from
F/U: follow up (believe it or not)
Fx: effects
G: God
g: gospel
Ge: German
Gk: Greek
gr: grace
GW: good works, or get with (+ name)
Hb: Hebrew
HC: Holy Communion (see also LS)
HG: Holy Ghost
HM: Holy Ministry
hn: heaven
HS: Holy Spirit; or, in a non-theological context, High School
hx: heresy
inc: incarnation
JC: Jesus Christ (see also X)
jmt: judgment
Jn: John
jn: justification
L: Law
La: Latin
LC: Large Catechism (of Luther)
LCs: Lutheran Confessions
LG: Law & Gospel
LJC: Lord Jesus Christ
Lk: Luke
L/M: left a message
Lm: Lutheranism
Ln: Lutheran
LP: Lord's Prayer
LS: Lord's Supper
lt: light
L/U: look up
LW: Luther's Works
LXX: Septuagint (actually a Roman numeral!)
Mk: Mark
ML: Martin Luther
ms(s): manuscript(s)
Mt: Matthew
N/A: no answer (if preceded by PC), or not applicable
NC: Nicene Creed
n/o: no one
NT: New Testament
n/t: nothing
NTX: New Testament exegesis
OT: Old Testament
OTX: Old Testament exegesis
P: Paul
p: pope
P/C: phone call
Pe: Peter
PM: Philip Melanchthonm
pn: passion
Pr: Pastor, or (sometimes) prophet
pr: prayer, or (sometimes) preach
Prn: Protestantism
pring: preaching
P/U: pick up
Px: problem(s)
py: papacy
QV: Athanasian Creed (Quicunque Vult)
r.: reigned
RC: Roman Catholic(icism)
redn: redemption
Ref: Reformation
rev: revelation
Rfd: Reformed
Ro: (book of) Romans
rn: reason
Rx: medicine/prescription or reaction (determined by context)
rxn: resurrection
S: Scripture
s: sin
SA: Smalcald Articles
sal: salvation
sax: sacrament(s) - sometimes "sac" was the singular
SC: Small Catechism (of Luther)
sn: sanctification
so: someone
sth: something
stp: stewardship
S/U: set up
Sx: essence, or saints/sainthood (determined by context)
TC: Ten Commandments
tfn: transfiguration
th: theology
tpn: transportation
Tr: Trinity, or sometimes Treatise
tr: trust
tsbn: transubstantiation
T/W: talk with
Tx: travel/trip
VM: Virgin Mary, or voice mail
vn: vision
w: with
WC: welfare check
wo: without
WS: word and sacrament
wx: works
X: Christ (from the Greek letter "chi")
x: times
xfer: transfer
Xgy: Christology
xlate: translate
xln: translation
Xn(s): Christian(s)
XP: Christ (Greek "chi-rho"), sometimes superimposed
Xs: Christmas
Xy: Christianity
Y: why
Zw: Zwingli

In addition to these alphabetical gimmicks, my notes often included abstract shapes. A valentine shape meant "heart" or "love." A dagger could mean either "died/death" or "cross/crucifixion." A five-sided star indicated an assignment. A triangle could stand for the Trinity. Inspired by certain Bible concordances, I used the Greek letter "psi" for Psalm. I have my own personal ampersand, which looks like a backward 3 with a vertical slash through it; I cultivated it because of its resemblance to the Latin word "et." I kept it because it was easier to draft than any alternative, and harder to confuse with something else.

An arrow from one person, place, or thing to another could indicate movement toward someone, somewhere, or something. But more often, it meant a logical consequence; one thing leads to another, or implies another. A question mark could stand for the word "question," or at the beginning of a line it could mark the location of a question. An exclamation point, especially at the beginning of a line, marked something really noteworthy. A light bulb could mark a flash of insight. A dollar-sign was sufficient to cover any mention of money. The word "number," even in the name of the book of Numbers, could be spelled with a pound sign (#).

My class notes, too, were often decorated with smiles of agreement, frowns of disdain, and even disrespectful little faces sticking their tongues out or crossing their eyes. Some of my hand-drawn emoticons winked knowingly, some gaped in astonishment, some grimaced in frustration or squinted in confusion; a few spewed projectile vomit, reflecting moments of intense disgust. At some less stimulating lectures, I recorded my boredom with out-cold faces (X's for eyes, etc.). Some faces had halos, others had horns; perhaps one or two wore asses' ears. In drawing these things, I wasn't simply doodling. I was making a record of my emotional and critical reaction to the things I was reading and hearing.

Thursday, November 12, 2009

Things That Made Me Cry

I don't score very high on most tests of emotional depth, but I have to admit that, in my adult life, several things have brought a tear to my eye, a sniffle to my nose, and maybe even a sob to my throat.

When I read aloud any of the "Seven Poems Every Boy Should Know" from The Dangerous Book for Boys, most of them get me choked up.

The scene at the end of the movie Field of Dreams, where Kevin Costner plays catch with his dad, turns me into a blubbery mess every time. Perhaps this is why, as a learned reflex, I tend to get misty at sports-related dramatic movies. Sean Astin saying "Thank God!" in Rudy does it.

Numerous books have reduced me to tears. A certain house-elf's funeral, about half-way through the seventh Harry Potter, did it. The final pages of Smith of Wootton Major, The Glass Key, and, in an entirely different league, The Great Gilly Hopkins, cost me loads of Kleenex. Endings of books are easily the most dangerous region for my tear ducts, but beginnings can be rough too. I remember laughing and crying in chapter one of Susan Cooper's book The Boggart and the Monster.

Music has often moved me to experience very deep emotions. Florestan's first note ("Gott!") in Act II of Beethoven's Fidelio pierced me to the heart. Awe at the beauty of biblical narrative sung by three countertenors in John Adams's El Niño gave me a certain misty feeling. One time I even made myself cry by trying to imagine a world in which Vaughan Williams's The Lark Ascending didn't exist. It isn't necessarily true, when the song "Yellow Taxi-Cab" says you don't know what you've got till its gone. Speaking of which, I once got a lump in my throat when I realized what that song was about.

All my life, I have enjoyed watching my father get choked up by his own preaching. He gets so involved in his message that it sometimes becomes difficult for him to spit it out. So when I was at the seminary, and I found a particular Luther quote in a history text - where the Reformer refused to turn aside from entering Worms, even while in danger of being burnt at the stake, and said he would go into the city "even if therre were as many devils in it as tiles on the roof" - it's no big surprise that I burst into tears. My tears turned to laughter when I thought: "I'm turning into my Dad!"

When my cat Lionel died in my arms at the Cat Clinic, the floodgates didn't open until I came home and stumbled across a pile of laundry he had been sleeping in. The cat-shaped dent in the clothes brought home to me that he would never catnap again.

One of my profs passed away when I was in college. I wasn't particularly surprised when I heard the news. Some time later, it occurred to me that I was going to miss hearing him preach in the campus chapel - and that's when something broke open inside me, and I wept.

I find that, in general, the kinds of things that make me cry have one thing in common. There is a truthfulness about them. Nobility, courage, integrity, quality. I haven't often laughed at myself through my tears and said, "What stuff this is!" I am seldom ashamed of the sentiment that triggers my emotions. Because for the most part, the emotion isn't based on sentimentality, but on admiration, or on the recognition of something dear.

Frodo's fate at the end of The Lord of the Rings played sentimentally in the Peter Jackson film, to my immense impatience. In the book, by contrast, it came across as brutally and unsparingly real, and the thought of it oppressed my spirits for days. I went through all the stages of mourning, pacing from room to room with an ache that I almost couldn't bear, and now and then suddenly getting damp-eyed on short notice. I mourned because it had become so real that it squeezed out the possibility of warm and comforting fantasy. But the tears were good, because they were a response to rightness.

The Bible stabs the heart with similar daggers of awful truthfulness. David's words on learning of the death of his sons inspire such a response: "O my son Absalom -- my son, my son Absalom -- if only I had died in your place! O Absalom my son, my son!" (2 Samuel 18:33); and "I shall go to him, but he shall not return to me" (2 Samuel 12:23). What Paul says about the "thorn in his flesh" in 2 Corinthians 12:7-9, about the power of sin dwelling in his members in Romans 7:24-25, and about his courage in the face of nearly certain death in 2 Timothy 4:6-8 are likewise moving.

But what Paul says of being "poured out as a drink-offering" pales beside the power of the most important words (for my money) that Jesus is known to have said, not many hours before his death on a cross: "Take, eat; this is my body, which is given/broken for you; do this in remembrance of me. Drink of this, all of you; this cup is the new testament in my blood, which is shed for you/for many for the forgiveness of sins. Do this, as often as you drink it, in remembrance of me" (Matthew 26:26-28; Mark 14:22-24; Luke 22:19-20; 1 Corinthians 11:24-25). Try to imagine the confusion of the apostles as they first heard these words, when the possibility of their Master's cruel death was far from their slow, stubborn hearts. Try to imagine the courage of the man speaking these words who, later that evening, wept and perspired blood in the agitation of his spirit as he struggled to master his fear of what was to come. Try, just try, to imagine the gospel of a world redeemed through one Man's sin-offering, and what would remain of it without these words. And then, try not to weep when you consider the impact on the souls of countless Christians who have had these words plucked out of their hearts by the lying and denying of false prophets...

Wednesday, November 11, 2009

Lopsided Pizza

Tonight I visited a pizza joint I have known about since July, but never patronized until now. I had high expectations of Talayna's, based on a taste of their pie furnished by a friend who swore by its quality.

In a city overrun by Italian eateries owned and operated by Italian-Americans, Talayna's is the odd pizza-and-pasta-place where the staff and the clientele alike come from a broad cultural spectrum. Its location is a little odd, too. Two blocks north of Forest Park Parkway on DeBaliviere - the street, two lights east of Skinker Road, that runs right past the St. Louis Art Museum in the park itself - it's not the easiest place to get to or even, for some longtime citizens, to visualize.

But it's there, believe me. It's there in all the earthiness of a battered wooden podium, walls painted in dark greens and reds, antique Italian posters, and one disconcertingly beautiful stained-glass window. It has a huge dining room - event planners take note - and its menu boasts the largest servings of pasta in the metro area, capable of feeding 2 to 4 people. There's even a 20-inch New York style pizza on the menu which, if one person can eat it in under an hour, comes with a $30 gift certificate.

I went in for a "small" New York style pizza, with pepperoni and mozzarella cheese. I have a nice burn on my lip to show for it. The crust was thin but not too thin, and certainly not crispy. The flavor was nice and peppery: nothing fancy, but imminently edible. It came with a bowl of parmesan cheese that I didn't use, and a couple of delicious rolls hot out of the oven. The rolls and the pizza shared a characteristic I haven't found in many Italian restaurants: their random shape.

The pizza was neither rectangular nor round. The rolls took the same lumpy irregularlity into a third dimension. Whoever cooked them wasted no time forming them into precise circles, squares, or ovoids. Oddly, I found this comforting. It brought the whole "handmade from scratch" concept to center stage.