Camera pan: to the village of Falcognana, in Frascati county, just south of central Rome.
The year is: 1957. The time in Rome is La Dolce Vita. The time of the Sweet Life.
The place is a two-story house in the middle of a vineyard. In the distance, about a football field away is another house, similar. One, ours, is a peasants house, but a touch fancy, the other, theirs, Mimmo and Lola's is a peasant house too, just slightly cruder. The house of contadinas.
Come inside. We see me, lying on the floor. Dad has just come home and is having his first of the evening. Chatting to our Mutti.
He suggests to me, a 7 year old, that we have a game of chess. He'll teach me, he says.
"What's that?" I hear myself ask. How could I have known what "chess" was, or what a chess set was, when I was struggling to keep up in my local class in Italian? We hadn't got to "chess", and would not, ever get to it.
Me, a birth baby of two of the Great Generation, who fought against the actual, real, honest-to-God Nazis and defeated them. Who then ended up in Tokyo, as members of the Occupiers, mother from New Zealand, father Australian. Who did a "hardship post" in immediate post-war Tokyo. Got married there, had me, went home to Oz, had my sister.
And were duly rewarded by a posting to Italy at the beginning of the Dolce Vita, of the Sweet Life in the fifties of Italy. And bring along their son and new daughter.
Those early post-war days, the budget was tight. The Australian Embassy in Roma had only so much budget from the Aussie taxpayer. My parents found they could afford only a peasant house in a peasant vineyard, in the southern outskirts of the Eternal City.
That's where we were. Those are the first years of my conscious life. And that's where I was introduced to The Set.
"Would you like to try a game of chess, Pete?" says Pa.
To which, I guess, I'm, like, "si, papa, grazie". In Italian. I was already more comfortable in Italian than English and Dad spoke it just fine (as he did several other languages).
What he lays in front of me is this:
A box. Made of Sugi a fragrant Japanese cedar. It's corner joints dovetailed, with contrasting woods.
Inside: a purple velour cloth over wood with 32 notches made to fit the size of each individual piece of the set, and a white elastic over those to keep the pieces in place.
And inside the notches the pieces: which were of people and animals, all with a Japanese imperial theme. All made of ivory, in those days a perfectly acceptable luxury item.
The King, at 3 inches the tallest, but also the most useless of pieces, yet still the aim of the game... an elegant Japanese emperor, in imperial robes, clutching a scepter.
The Queen an Empress, wears a long, elegant kimono with subtle patterns, her hair styled in an elaborate Geisha, with a single large hairpin. She holds an open fan on her belly. Maybe she's pregnant? And hasn't told her emperor yet?
The Bishops are monk-like men, bald, with long, flowing traditional robes to their feet, fulsome men, well fed, they stand with calm expressions. Calm they may appear, but they're the secret samurai's able to kill at a diagonal distance.
The Knights are horses standing to attention, with warriors -- the Samurai? -- at the ready, mounted. With their forwards, backwards, sideways, up and over movements they're the surprise merchants of the chess board.
The Castles, the Rooks, are stone towers, pagodas, with the stones etched in, the tops like Longhorns. The protectors of the long lanes.
The Pawns are almost the best of these. Warriors, with conical hats, Chinese style, kneeling and holding rifles aimed at the opponents. One of these, in each of Black and White side has a flower carved in the bottom, a chrysanthemum, the mark of the artist.
That's me meeting the set, at age 7, lying on the floor of our peasant house, waiting for Pa to sit down with me and explain what's what about chess.